when the walking and talking of people is used as a locale, it’s important to do what this film does: make it feel like home. what at first seems lazy and aimless becomes familiar and aggressive. the camera sets itself on shoulders and as the two main characters show up in place after place, sometimes returning and sometimes venturing, one finds him or herself wondering how the commonplace will footstool itself to that inevitable, disappearing step. the filmmakers here know what to do with a face, and in zoe kazan’s they have a winner. the film is quiet throughout, but there is no muting love, hurt, and disorder. that it finds the sequence of these things without giving the viewer a to b is what sets it apart from so many point-and-shoot indies.
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