Part of getting films into cinemas after a period of closure is that there are still a number of titles that probably would have gone straight to streaming which are still getting a shot, and this feels like one of those. Still, it looks good on the big screen, whatever other shortcomings it may have.
There’s stuff in this film that feels a bit programmatic and well-trodden, and when the script does get to the emotional sharing (right at the very end) it suddenly starts to feel like too much, but that’s because the rest of the film is an exercise in restraint that is made more precise and affecting by the quality of Robin Wright, the star and director, in this role. She has retreated to the wilds of Wyoming after some unnamed tragedy, but it quickly becomes clear it has to do with a death close in her family, and pursues a solitary life to varying success, eventually settling in. This process forms the bulk of the film as time slips away unnoticed until she becomes reacquainted, in a small way, with the comfort of fellow humans (in the form of Mexican actor Demián Bichir). The way that her isolated life and his incursion is played out is very nicely done, and it feels almost like a step too far that the script feels the need to wrap it up with a little moral lesson but even that feels earned by the slow, but never boring, pacing.
Director Robin Wright; Writers Jesse Chatham and Erin Dignam; Cinematographer Bobby Bukowski; Starring Robin Wright, Demián Bichir, Kim Dickens; Length 89 minutes.
Seen at the Penthouse, Wellington, Friday 21 May 2021.
Allison Anders has had a somewhat patchy relationship with film success, though I’m not quite sure why. Her Grace of My Heart (1996) deserves far wider renown than it perhaps has, and she returned to a music-based theme with this film five years later, which tracks a journalist for a vinyl obsessives’ magazine, Owen (Gabriel Mann), as he writes a piece about an up-and-coming Florida indie rock band fronted by Sherry (Kim Dickens). For all that it occasionally moves into slightly hokey TV melodramatic territory, this is for the most part really very assured work, with a dark palette suited to its milieu of grimy bars and gig venues, and a confident storytelling appeal. That the backstory into which the journalist delves deals with rape can also be difficult to less confident filmmakers, but Anders makes this a story about a rounded and complex character who has trauma in her past, rather than about an outsider’s response to it. When Owen tries to inveigle himself into this narrative and make it about his own role and how he deals with it, the film doesn’t so much belittle him as just insist he allow some perspective — Sherry putting her hand up to his face and walking away as he tries to empathise. The acting is uniformly strong (particularly from Dickens and the ever-dependable Don Cheadle as her manager/boyfriend-of-sorts), and it has a confidence to it that rewards attention.
Director Allison Anders; Writers Anders and Kurt Voss; Cinematographer Terry Stacey; Starring Kim Dickens, Gabriel Mann, Don Cheadle; Length 120 minutes.
Seen at home (Amazon streaming), London, Tuesday 19 January 2016.