PINOCCHIO (2021)

February 23, 2021

 Greetings again from the darkness. Part ‘Frankenstein’ and part parable for parenting is how I’ve always thought of the story of Pinocchio. In this latest version, director and co-writer (with Massimo Ceccherini) Matteo Garrone adds a splash “Alice in Wonderland” to Carlo Callodi’s 1883 novel, “The Adventures of Pinocchio”. The result is a grim, not-kid-friendly live-action presentation that’s a bit uneven, yet still engaging.

Oscar winner Roberto Benigni (LIFE IS BEAUTIFUL, 1997) is wood-carver Geppetto, a poverty-stricken man who works magic with a chisel, but is never quite sure where his next meal will come from. When the traveling Grand Puppet Theater hits town, Geppetto dreams of creating a beautiful puppet and traversing the globe to show it off. A fellow wood worker gifts him with the enchanted piece of wood from which Pinocchio is born. When he discovers the puppet can talk, Geppetto is so proud of his new son that he shows him off around town and walks him to his first day of school.

Of course we know that Pinocchio is a curious boy, and he immediately sneaks off to watch the puppet show. This sets off his many adventures, while simultaneously making Geppetto quite sad as he undertakes a search and rescue mission. Pinocchio crosses paths with the kinda creepy Talking Cricket (Davide Marotta), the fire-eating Mangiafuoco (Gigi Proeitti), a couple of tricksters in Cat (Rocco Papaleo) and Fox (co-writer Ceccherini), a confused gorilla judge (Teco Celio), and a friendly, but slimy snail (Maria Pia Timo) who lives with the Fata Turchina/Blue Fairy (played young by Alida Baldari Calabria, and older by well-known French actress Marine Vacth).

The enticement of playing all day and having no responsibilities leads Pinocchio to accept an invitation to Toyland, although the train of donkeys pulling the wagon load of kids is our tipoff to what’s about to go down. Pinocchio’s subsequent swim in the ocean and encounter with the sea monster are handled well visually, and the reunion with Geppetto is quite pleasant. You should know that the iconic Pinocchio nose that grows upon telling lies is limited to a single scene, albeit a memorable one.

Benigni was the writer-director-star of the critically-panned 2002 PINOCCHIO, which also failed at the box office. He’s much better suited to the role of Geppetto and does a nice job of capturing the essence of the character. Federico Ielapi handles the role of Pinocchio quite well, and the “wooden” effects of his face are quite impressive. The story is a metaphor for the struggles and challenges of life, and the life lessons are easy to discern … for instance, there is no ‘field of miracles’, regardless of what Cat and Fox promise. Nicolai Bruel’s cinematography is at times visually stunning as we make our way through the countryside of Italy. It’s just that director Garrone (two excellent films: TALE OF TALES 2015, and GOMORRAH 2008) chooses to emphasize the bleakness, and it’s important to note that this is far-removed from the 1940 Disney animated classic. Most will struggle to find an emotional connection, though the look of the film and life lessons are top notch. Guillermo del Toro has a stop-action animation version currently in production and it’s not surprisingly rumored to be even darker than this one.

After a long delay, the film gets a digital release on February 23, 2021

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Posted by David Ferguson

NOMADLAND (2021)

February 20, 2021

 Greetings again from the darkness. Traditional beauty is nowhere to be found in filmmaker Chloe Zhao’s extraordinary film adapted (by Ms. Zhao) from Jessica Bruder’s 2017 award-winning book, “Nomadland: Surviving America in the Twenty-First Century”. There are no breathtaking shots of majestic sites like the Grand Canyon, and the people we meet rarely bathe, and are not concerned with fashion. Despite this, the film can best be described as one of the most beautiful and most unique cinema experiences in years. Ms. Zhao provides a look at America’s roads and landscape through the eyes of folks that society tends to overlook.

A significant reason this film works is the incredible performance by two-time Oscar winner Frances McDormand (FARGO, 1996, and THREE BILLBOARDS OUTSIDE EBBING, MISSOURI, 2017). She plays Fern, a strong woman who refuses to let grief suffocate her. Her hometown of Empire, Nevada was erased from existence in 2011 when US Gypsum shut down the local plant, resulting in the town’s zip code being discontinued a few months later. As if her town disappearing wasn’t enough, Fern’s husband passed away, leaving her with little evidence of a life to which she had grown accustomed. We watch as Fern packs up her van and hits the road.

Her first stop is working at an Amazon distribution center during the holiday rush season. She lives out of her van as part of the company-sponsored CamperForce program. When the season is over, Fern hits the road again. We slowly get a feel for this subculture of van-dwelling nomads, young and old, who travel the country’s backroads and keep to themselves, except when they gather to form a temporary community of similar-minded individuals. Fern makes it clear she is “house-less”, not “homeless”, and has nicknamed her customized vehicle, ‘Vanguard’.

Fern thrives on her solitude, but is also friendly enough to connect with others wherever she stops driving or works. She joins the annual gathering of Bob Wells’ community/tribe, and her other odd jobs include acting as a “host” at one of the stops, shoveling sugar beets at a farm, and cooking/cleaning/serving at the famous Wall Drug Store in South Dakota. Along the way she befriends Dave (David Strathairn), a fellow nomad whose dreams don’t necessarily coincide with Ferns. Respected actor Strathairn is the only other familiar face in the film, other than McDormand. Non-professional actors fill the scenes, most of whom are real life nomads kind enough to share their ways in front of a camera.

Director Zhao has reunited with Joshua James Richards, her cinematographer on the excellent 2017 film, THE RIDER. Their work here is a masterclass in taking us into a world most of us know little about, and doing so in a way that combines both the intimacy of people with the scale of nature. Even the sequence where Fern revisits her past life is quietly emotional and done with grace, while also packing a punch. The music from Ludovico Einaudi is exceptional in its complementary nature and ability to leave the quiet moments unspoiled, while also driving our empathy and emotions. This is an extraordinary film with a superb performance, and one that is entertaining, while also proving thought-provoking at a time when so many of us are questioning the sustainability of our current societal structure, and wondering just who will toss a rock on the fire in remembrance.

In theatres and PVOD on Hulu beginning February 19, 2020

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Posted by David Ferguson

DAYS OF THE BAGNOLD SUMMER (2021)

February 20, 2021

 Greetings again from the darkness. If most people realized how obnoxious they were as teenagers, we’d likely have far fewer folks opting to be parents. Actor-turned-director Simon Bird, in his first feature film, portrays the awkward, frustrating, and sometimes bitter relationship between a confused and directionless teenage boy and his divorced, well-meaning, single mom. The screenplay was written by Bird’s wife, Lisa Owens, and adapted from Joff Winterhart’s 2012 graphic novel.

Daniel (a terrific Earl Cave) is a 15 year old boy who is obsessed with heavy-metal music and resents pretty much everything else in life. He’s a droopy boy who can’t be bothered to shampoo his hair, and the only energy he expends is with snarky comments to his devoted mother, Sue (an outstanding Monica Dolan), who is clueless on how to connect with a son who bears little resemblance to the younger boy she fondly recalls raising. Sue is diligent with her work as a librarian, and tries to instill some ambition in Daniel by having his seek employment.

Daniel sinks into an even lower funk when the dad he worships cancels the boy’s much anticipated trip to Florida for a visit. Of course, Sue subtly points out that dear old dad may not be the best idol for her son, but those cautions fall on deaf ears. Instead, Daniel labels Sue, “the most boring person in the world”. Their time together is cringe-inducing, as Sue does her best to convince Daniel they can have fun, despite his disappointment.

The interesting aspect of the film is derived from its structure as a comedy, while the undercurrent of sadness and isolation is ever-present. Sue is thrilled when Douglas (Rob Brydon), a history teacher, asks her out on a date. At the same time, Daniel’s best (only?) friend Ky (Elliott Speller-Gillott) encourages him to pursue his dream as a front man for a local metal band … resulting in one of the film’s funniest and strangest segments. Neither Sue’s date, or the aftermath, nor Ky’s attempt to help his friend go according to plan.

Much of the soundtrack comes courtesy of Belle & Sebastian, and the uses of musical montages actually takes away from the otherwise realistic interactions between these characters. In addition to Brydon and Speller-Gillott, Alice Lowe has a welcome supporting role as Sue’s more socially-inclined sister, but this film belongs to Mr. Cave and Ms. Dolan. Most parents can relate to Sue’s challenges, and most adults who can be honest with themselves in retrospect, will likely recognize some of their own behavior in Daniel. The nuanced behavior and witty humor is handled well, and that deeper emotional level elevates the film for those who care to dig in.

Available in theatres, Virtual Cinema, and streaming platforms on February 19, 2021

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Posted by David Ferguson

BLITHE SPIRIT (2021)

February 20, 2021

 Greetings again from the darkness. Contrary to what one might assume, bringing entertaining, silly slapstick comedy to the screen is actually quite difficult. This is director Edward Hall’s first feature film, as his career has been mostly in TV series work and on stage. That stage work is likely what attracted him to this long-time favorite from Noel Coward. Adding to the difficulty is that Coward’s work was previously brought to the screen by legendary director David Lean in 1945, in a project that featured Rex Harrison, Constance Cummings, Kay Hammond, and Margaret Rutherford. Lean’s film won an Oscar for Special Effects.

Director Hall is working with a script adapted from Coward’s play by Piers Ashworth, Meg Leonard, and Nick Moorcroft. Rather than embrace the witty dialogue of a sophisticated upper class screwball comedy, this one seems committed to a level of silliness that intentionally overshadows the supernatural story line. It’s 1937 England where we first meet crime novelist Charles Condomine (Dan Stevens) in an angry, whisky-laced state of writer’s block. He’s trying to adapt his own novel into his first screenplay, and the pressure is mounting since the movie’s Producer is also his father-in-law. Charles’ second wife Ruth (Isla Fisher) enjoys her life of luxury and can’t understand why her successful husband can’t do it (in more ways than one).

Date night at the theatre inspires Charles to invite the spiritualist medium Madame Arcati (Judi Dench) to their house to conduct a séance. This despite Madame Arcati being exposed as a fraud. He’s simply desperate to break his writer’s block. The story takes a turn when the séance conjures Charles’ first wife Elvira (Leslie Mann). However, he’s the only one who can see her, and neither Elvira nor Ruth are pleased with the presence of the other. On the bright side, Elvira assists Charles with his writing – it turns out she was long his muse (and maybe more).

Leslie Mann and Isla Fisher are two of the most talented comic actresses working today, but even they can’t save this nonsensical barrage of motion. Judi Dench is an Oscar winner, and at 86 years old, she still excels at working a scene. On the other end of the spectrum, Mr. Stevens has neither the charm nor the comedic chops to pull off the Charles character as written. And it does seem the script, and the approach to the material, is what turns this into a vacuous affair, seemingly devoid of any cleverness save what the trio of talented actresses deliver. There are plenty of movies that deal with life after death in various ways, but whether serious or farcical, the best are entertaining. Unfortunately, this one has little to offer, and actually turns from not very funny to downright mean by the end.

Opening in theaters and VOD on February 19, 2021

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Posted by David Ferguson

THE MAURITANIAN (2021)

February 13, 2021

 Greetings again from the darkness. September 11, 2001 will be always remembered in history books, and seared into the memories of those who were there or watched the horrifying events unfold on television. As Americans, we were stunned and felt vulnerability for the first time in years. Also as Americans, we demanded justice for those responsible (or at least closure). Oscar winning director Kevin Macdonald (ONE DAY IN SEPTEMBER, 1999) working from a script by co-writers Michael Bronner, Rory Haines, and Sohrab Noshirvani, brings us the true story of Mohamedou Ould Slahi, based on his best-selling 2015 memoir, “Guantanamo Diary”.

Tahar Rahim (so good in A PROPHET, 2009) stars as Slahi, and we first see him in November 2001 (2 months after the attack) as he’s returned from Germany to Mauritania, West Africa for a family wedding. He’s told, “The Americans want to talk to you”, as he’s taken into custody. The movie skips to 2005 where we find Defense Attorney Nancy Hollander (2 time Oscar winner Jodie Foster) and her associate Teri Duncan (Shailene Woodley) in the courtroom. These two are crusaders for the law, and take on the case of Slahi, who has bounced first from a prison in Jordan and now to Guantanamo. Four years with no hearing, no trial, and no charges brought against him.

The film jumps around from Slahi in Gitmo, to the two sides prepping their cases: Hollander for the defense, and Stuart Couch (Benedict Cumberbatch) for the military. Couch had a friend on one of the 9/11 planes, and he’s instructed that this is a death penalty case – the only outcome that will deliver justice to the American people. Director Macdonald includes flashbacks to Slahi’s arrival at Gitmo, and even further back (1988) to his earning a scholarship to Germany. We also see the reenactment of the documented torture and “enhanced interrogation” procedures used against Slahi. It’s difficult to watch even these snippets of what he endured.

It’s 2009 before a judge even hears Slahi’s case, and 7 more years before he’s released. A total of 14 years captive with no charges, on top of the well-documented torture. Was Mohamedou Ould Slahi in some way responsible for the terrorist act of September 11, 2001?  Did he recruit others to join the cause? The fact that we don’t really know the answers goes to the heart of what went wrong at Gitmo, and how the American need for justice caused a horrific detour in the legal process.

Unlike some, I have no issues with “agenda movies”, and it seems as though director Macdonald set out to make this one. The problem is that the multiple pieces and characters are just too much to juggle for one film. At times, it seems to highlight Hollander as a crusader. Other times it wants us to understand the struggles of Couch. And then there are times when the attention is on Slahi. The fragmented approach leaves us lacking in all aspects, especially for teasing a courtroom drama that never occurs. The actual footage included at the conclusion leaves us wondering whether the intention all along was to tug on our heartstrings, rather than expose the wrongs that transpired.

In theaters February 12, 2021

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Posted by David Ferguson

COWBOYS (2021)

February 13, 2021

 Greetings again from the darkness. Marriage is difficult, and adding parenting to the mix brings significantly more challenges. However when the marriage crumbles, the parenting piece becomes even more complex – for the adults and the kids. Writer-director Anna Kerrigan takes that hand and raises the stakes with a husband/father battling a mental illness, a wife/mother sticking to her idealistic vision, and a frustrated child who is absolutely certain they are in the wrong body.

Sally (Jillian Bell) is a loving mother who wants to buy dolls, dresses and “pretty” boots for her daughter Josie (Sasha Knight). The problem is that Josie is more comfortable in the world of her dad – guns, belt buckles, horses, and hanging with buddies. Troy (Steve Zahn) enjoys a bond with his daughter and is appreciative that she likes “guy” things. The best scene in the film occurs when Josie demands to be Joe. Sitting in the truck with dad, Joe claims to be a boy, not a girl. Troy initially laughs it off, but quickly comes around to the seriousness of the situation. Having a transgender child requires more sensitivity than Troy has previously displayed, and he handles the moment well.

It’s Sally who pushes this off as the action of a confused adolescent, and makes a good point about how any child would find hunting and bowling preferable to washing dishes and scrubbing toilets. This of itself makes a strong statement. The interesting thing about Kerrigan’s film is that the transgender aspect is really not the focus. Troy and Joe take off on a camping trip in the Montana forest, with the goal of escaping to Canada. They are each outsiders in their own way, and heading to the country of “nice people” who will accept them is just too good to pass up.

Of course, a parent kidnapping their kid is never the right move, and soon a detective (Ann Dowd) is on their trail. Troy loses his medication and his behavior becomes more erratic, pushing Joe into a spot they are too young to handle. Flashbacks are used to fill in the family history, and show us each character’s flaws and difficulties. The film lacks the dramatics that we might expect given the subject matter, but I most appreciated how Sally was treated as a real person – a hard working woman, a frustrated wife, and a mother who wants the best for her child, even if her path from denial to acceptance is gut-wrenching. The film suffers a bit from the extraneous baggage of Troy’s medication and temper, but the message comes through in the end. As a bonus, we see some beautiful scenery along the way.

Available VOD on February 12, 2021

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Posted by David Ferguson

MINARI (2021)

February 11, 2021

 Greetings again from the darkness. “The American Dream” could actually be labeled ‘The Human Dream’. The idea of being part of a loving and supportive family, while achieving a bit of societal success and living comfortably and safely in a home one can call their own, is a dream that bears no boundaries, gender, or skin color. This autobiographical film from writer-director Lee Isaac Chung is centered on his childhood recollections of his family move to rural Arkansas to start a farm.

It’s the 1980s and this Korean immigrant family has packed up to leave their dead-end California life to begin anew on a 50 acre parcel in Arkansas. Father Jacob (Steven Yeun, “The Walking Dead”) has a dream of cultivating Korean vegetables to fill the demand from an increasing Korean populace. Mother Monica (Yeri Han) sees less dream and more nightmare as they drive far from a city and pull up to a tattered mobile home (“it has wheels”). Their young son David (Alan S Kim) has health concerns from a closely monitored heart murmur, and is constantly being ordered to “don’t run, David!” David’s older sister Anne (Noel Cho) is mature and smart for her age, and acts as his life guide.

Monica and Jacob take jobs at a local hatchery to support the family while the farm is developed. The hatchery job is exactly what they escaped from in California, so Monica sees their situation as worse, not better … foreseeing failure on the farm. A heartfelt argument leads to compromise and Monica’s mother Soonja (Yuh-jung Youn) comes to live with them. As David notes, she’s not a “normal grandmother”. Rather than bake cookies, she freely spews profanity and quite enjoys the “water from mountains” (Mountain Dew) amidst her practical jokes at the expense of others. In other words, she’s a hoot!

Jacob accepts the offer of help from Paul (longtime favorite character actor Will Patton), a local evangelical Christian who praises Jesus frequently, and has an unusual Sunday ritual. The two men manage to cultivate the crops, yet run in to many obstacles along the way. But Chung’s film is clever in that the real core is family dynamics. Grandma’s planting of fast-growing minari herb in the creek bed acts as a metaphor for the plight of this family. Each member finds their way, and it’s clearly stronger as a unit than broken.

This is such a beautiful film with a gentle story grounded in realism. These people talk and act like a family, and the pressures they face are real. Racism in the south is never dwelled upon, but the struggles of a changing citizenry is faced by all. Emile Mosseri’s score is unusual, but fits perfectly, while Lachlan Milne’s cinematography at times reminds of Terrence Malick, possibly due to the setting. Filmmaker Chung has created a tender, relatable film and the cast performs superbly. The result will strike an emotional chord for many.

In theaters on February 12, 2021 and VOD on February 26, 2021

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Posted by David Ferguson

JUDAS AND THE BLACK MESSIAH (2021)

February 11, 2021

 Greetings again from the darkness. Electrifying. Towering. Ferocious. Choose whatever superlative you prefer to describe Daniel Kaluuya’s performance as Fred Hampton, Chairman of the Illinois Black Panther Party. Remarkably, Mr. Kaluuya captures Hampton’s legendary oratory skills, and his stage presence reminds of Forest Whitaker’s Oscar winning turn as Idi Amin in THE LAST KING OF SCOTLAND (2006). And the most stunning part is that this isn’t even really a story about Hampton. Director Shaka King, who co-wrote the script with Will Berson from a story by the Lucas brothers, Kenneth and Keith, actually devotes more time to Bill O’Neal, the FBI informant played by LaKeith Stanfield (SHORT TERM 12, 2013).

The film opens with a montage of activists in the 1960s, including Bobby Seale, and transitions right into a 1968 FBI symposium where director J Edgar Hoover (Martin Sheen in botched make-up) tells the auditorium full of agents that the Black Panthers are the greatest security threat to America. From there we watch as Bill O’Neal, wearing a trench coat and fedora, steals a car from a group of men in a pool hall simply by waving an FBI badge. When he’s apprehended, it’s that badge, not the car, that puts young O’Neal (he was 19 at the time) in the precarious situation of going to prison or accepting (actual) FBI Agent Roy Mitchell’s (Jesse Plemons, I’M THINKING OF ENDING THINGS, 2020) offer to infiltrate the Black Panthers as a federal informant.

One of the film’s most memorable lines occurs when Agent Mitchell asks O’Neal why he impersonated an agent. The reply: because “a badge is scarier than a gun”. It’s a belief that still holds true more than 50 years later. And that sentiment is a key part of Mr. King’s film. Blatant racism within law enforcement is on display through both the Chicago Police Department’s harassment, and the FBI (and Hoover’s) strategy to prevent the rise of black people.

As fascinating as Hampton and O’Neal are as characters (and real life men), the script falters in a couple of ways. We never really get to know Hampton except as the fire and brimstone speaker on stage. As impressive as that is, it’s a mystery to us how this 21 year old man became so inspirational and skilled at forming alliances. His “rainbow coalition” goal to unite local groups to battle ‘the establishment’ is remarkable, but we are left to wonder if feeding the poor and opening a local medical center were possible through any method other than all-out war. And if so, why the stock pile of guns? Another letdown with the script is that we are not shown how O’Neal manages to become so quickly trusted, and promoted to head of security.

Most of this is told through the eyes of O’Neal, and Stanfield is terrific at capturing the internal conflict and constant danger. Included here are dramatic recreations of O’Neal’s interview on a 1989 PBS documentary entitled “Eyes on the Prize 2”, and he admits to considering Agent Mitchell a role model. Unfortunately, the movie never shows this type of connection between the men. Rather, it’s an awkward and forced bond between two men, neither of which are comfortable with the actions required of their situation. That’s not to say the two don’t share some tense moments, because they do. Especially effective is when Mitchell explains to O’Neal that the Black Panthers are the same, and equally destructive, as the Ku Klux Klan.

Writer-director King and writers Berson, Lucas, and Lucas are all best known for their TV work, so this is a huge step forward for them. It’s a powerful movie that explains some of the Black Panther ideology and how it was treated by law enforcement. The “War versus Politics” explanation cuts to the bone, as do the actual clips played over the opening and closing credits. Dominique Fishback deserves mention for her terrific supporting turn as Hampton’s girlfriend, especially in her final scene. If you’ve ever wondered about the responsibility of leading a revolution, or the inner turmoil of being a snitch, then you’ll find some answers in this memorable film from Shaka King.

In theaters and streaming on HBO Max beginning February 12, 2021

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Posted by David Ferguson

LAND (2021)

February 11, 2021

 Greetings again from the darkness. In her 35 year career, Robin Wright has created many memorable big screen roles, including: Princess Buttercup in THE PRINCESS BRIDE (1987), Jenny in FORREST GUMP (1994), and Antiope in the WONDER WOMAN franchise. She entertained many of us as the complex Claire Underwood in “House of Cards”, a series for which she also directed 10 episodes. However, this is Ms. Wright’s feature directorial debut, and she also stars in this introspective story from co-writers Jesse Chatham and Erin Dignam.

City slicker Edee (Ms. Wright) decides to go “off the grid”. Through flashbacks we are able to intuit that she is grieving deeply, and both her therapist and sister (Kim Dickens) are concerned about her suicidal tendencies. Edee loads up a U-Haul trailer and in the ultimate sign of ‘dropping out of society’, she ceremoniously dumps her cell phone in a trash can. The road takes her to the Rocky Mountains region of Wyoming, where she plops down the money for a remote … extremely remote … rundown cabin with a breathtaking view. At this point, we question both her sanity and reasoning.

Through Edee’s visions we catch glimpses of a man and young child, whom we can assume are her husband and son. An unknown devastating family tragedy, and realization that therapy is not the answer, have driven her to the point of needing to be alone with her pain – to get away from people. Of course, the harsh reality is that she doesn’t know how to live off the land, and no “how to” book is going to teach her to chop wood, or hunt, trap and fish, much less survive the forces of nature. A visit from a bear ensures a shortage of supplies, and the brutal wintry cold combines to leave Edee wondering whether she will freeze to death before she starves to death.

Did she expect to die on this mountain or did she honestly think this life could rehabilitate her spirit to live? Would changing the view from skyscrapers to a majestic mountain range be enough to help her escape the darkness?  Well, we never really get the answers, thanks to the just-in-time arrival of a hunter named Miquel (Oscar nominated Demian Bichir, A BETTER LIFE, 2011), who, along with local nurse Alawa (Sarah Dawn Pledge) help Edee regain her health after near death.

Miguel and Edee forge a bond as he teaches her the realities of living off the land. They exchange very little dialogue, but it’s clear Miguel is dealing with his own form of suffering. He’s a very practical and patient man, and when teaching her how to trap, he states, “Eating squirrels is motivation to get a deer.” Can one person help another person re-discover the will to live? That’s really the message of the film. We may prefer to be alone with our grief, but it’s connecting with others that gives life meaning. As with Miguel and Edee, that connection may simply be someone “in my path”.

As you might imagine, the film looks beautiful as it bounces between the immediacy of Edee in a cabin, and the vastness of the mountain vistas. Long-time cinematographer Bobby Bukowski (ARLINGTON ROAD, 1999) makes sure we experience the overwhelming beauty of nature (Alberta as a stand in for Wyoming), as well as its overwhelming danger. With minimal dialogue, much of the story is told through the nuanced physical acting from two pros, Ms. Wright and Mr. Bichir. Humor is injected through the use of Tears for Fears song, “Everybody Wants to Rule the World”, and though it’s kind of a running gag, the song’s lyrics are spot on. There is no magic cure for disabling grief, but the dream of self-discovery by getting “one with nature” can be idealistic without proper guidance. As the film relays, the best path is more likely to be a fellow human being simply doing the right thing.

Opens in theatres on February 12, 2021

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Posted by David Ferguson

THE WORLD TO COME (2021)

February 11, 2021

 Greetings again from the darkness. I’d be hard-pressed to name a movie that is more somber, front beginning to end, than this film from director Mona Fastvold (writer of VOX LUX, 2018) and co-writers Ron Hansen (THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD, 2017) and Jim Shepard (based on his short story). Allowing only a few sparks of hope in the second act, the film’s ending finds us nearly as beaten down as the four main characters we’ve just watched.

Structured as though Abigail (Katherine Waterston) is reading her own journal entries as they play out in real life, the film captures the brutal conditions of working a hillside farm in upstate New York during 1856. But more than that, it conveys the price of a joyless existence on the frontier, when days were spent adhering to chores. For everyone, this meant little social interaction; and for women this meant cooking, cleaning, and giving birth. Abigail mesmerizes with her balletic poetry in describing the drudgery of her life and marriage to Dyer (Casey Affleck). Dyer is a sullen man who says little, but remains dutiful in his responsibilities. He is attuned enough to allow Abigail her space after diphtheria claims their young daughter … though he seems mostly unchanged by the tragedy.

Abigail’s emptiness and unrequited quest for meaning seem her destiny until the day that new arrivals rent the next farm over. As Finney (Christopher Abbott) guides the wagon by, Abigail and Tallie (Vanessa Kirby) lock eyes, signaling to them (and us) that life on the frontier is about to become more exciting than collecting that day’s eggs from the chicken coup. This moment arrives mere weeks after Abigail as narrator has informed us, “With little pride and less hope, we begin the new year.” And just like that, she has hope.

The two women begin to spend days together building a connection first borne from isolation and loneliness, and soon growing into a true relationship. Dyer deals with his wife’s affinity for the new girl with a nonchalance that masks his agitation. Finney, on the other hand, is a quietly simmering man of anger that wreaks of a violent nature just below the surface. These are combustible elements in a world where this type of relationship between women is simply not discussed or admitted.

We witness the beginning, middle, and end of the relationship between Abigail and Tallie. We see how each lights up around the other … although Tallie’s well-coiffed auburn hair always seems out of place in an environment where showers and shampoo would be scarce. It’s really Abigail’s narration and lyrical use of language that propels the story, and as lovely as her words are, the actual pacing of the film is a bit slow at times. Of course, that corresponds to the oppressive bleakness of this world, adding to the challenge for viewers.

The four lead performances are all terrific. The two men have less screen time and certainly less dialogue, but we never once doubt where they stand. Ms. Waterston has been a standout with her work over the past few years, and Ms. Kirby recently posted one of last year’s finest performances in PIECES OF A WOMAN. She’s clearly a star in the making. Composer Daniel Blumberg’s work is a good fit, and cinematographer Andre Chemetoff works wonders with the muted color palette. Bucharest is the stand in for 19th century upstate New York, allowing us to see the harshness. Period lesbian romances are rare, though this is the third in a short period of time along with AMMONITE (2020) and PORTRAIT OF A LADY ON FIRE (2019). Just prepare yourself for an hour and a half of anguish.

In theaters February 12th, 2021 and on digital March 2nd, 2021

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Posted by David Ferguson

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