There’s a certain strand of filmmaking that I like to think of as ‘low stakes cinema’ where nothing really bad happens or is likely to happen to any of the characters — no one’s actions are going to kill or seriously hurt anyone, and there might be a bit of embarrassment or hurt feelings, or even a relationship break-up at the very worst. Much of Nicole Holofcener’s cinema sort of fits neatly in there, and the lives she depicts are just a little more ragged around the edges than, say, Nancy Meyers’s (certainly their homes are less punishingly set designed). Both of these films deal with ensemble casts, groups of people defined by relationships, whether romantic or those of friendship, navigating through complications, without the kind of pat resolution you get with, say, sitcoms. In this way they fit somewhat into the same mould that younger ‘mumblecore’ filmmakers were doing at the same time, though her filmmaking seems closer to the kind of comfortable New York background of Noah Baumbach, something which traces its lineage back through Woody Allen. Between these two films below she made Please Give (2010, which I’ve seen and liked, though wasn’t able to rouse myself to write much about it) and Enough Said (2013), which is just lovely, and I think one of the last screen performances from James Gandolfini.
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.