Meewella | Critic

According to P

Tag: Frances McDormand

QuickView: Nomadland (2020)

“Just like my dad used to say, ‘What’s remembered, lives.’ I maybe spent too much of my life just remembering.”

Fern

Straddling an inchoate space between documentary and fiction, Nomadland explores those who have adopted a nomadic lifestyle travelling around the USA, living in vehicles and picking up work as they go. Powerful, understated performances from Frances McDormand and David Straithairn provide a narrative arc, but most of the characters with whom Fern interacts are real-life nomads playing fictionalised versions of themselves. This provides not just verisimilitude but palpable poignancy to the discussions about the reasons they found themselves in this lifestyle — they are typically older people, unattractive to the job market, but also dealing with grief that perhaps prevents them from laying down new roots. Zhao’s approach to her subjects is gentle and without judgment, a lingering camera that searches for poetry in simplicity and trusts the viewer’s curiosity to understand this way of living. There are beautiful American landscapes but this is not a travelogue and the people are always the focus over the places. Nomadland is a work that feels necessary for its time in the same way as Up In The Air did during the aftermath of the 2008 financial crisis (with parallels in their rootless protagonists). This is slower and more ephemeral, with limited plot, but its ideas will linger with those who engage.

9/10

QuickView: The French Dispatch (2021)

“There is a particular sad beauty… well-known to the companionless foreigner as he walks the streets of his adopted preferably moonlit, city. In my case, Ennui, France.”

Roebuck Wright

Whilst there has always been a literary chic aesthetic to Wes Anderson’s films, The French Dispatch is an ode to the art of long-form journalism — rather than being divided into chapters, this is really a collection of short films masquerading as articles. The fictional French town of Ennui-sur-Blasé (literally “boredom on apathy”) is fittingly named, and even the colour palette eschews the bold saturation one expects from Anderson; yet within this disaffected community, the writers seek out — and perhaps manifest — absurdly colourful tales. The quality is distinctly uneven, Anderson seeming to have little to say with the content of the stories so much as their loquacious delivery. The most creative is also the most entertaining, a food review that morphs into an unpredictable heist. Although that earns the film a strong closing, it cannot resolve the disconnected narrative of a vapidly kitsch tale of student protest or a bizarrely aggressive travelogue. Fans of Wes Anderson will find plenty of details to enjoy, together with the de rigueur stellar ensemble cast, but The French Dispatch does not rank amongst his strongest work.

7/10

QuickView: The Tragedy of Macbeth (2021)

“Is this a dagger which I see before me,
The handle toward my hand? Come, let me clutch thee.”

Macbeth

That Joel Coen’s first solo outing is a Shakespeare adaptation is something of a surprise, given that his brother and longtime collaborator chose to step away from movies in order to focus on theatre. Coen’s approach is anachronistic, retaining the original setting and dialogue, but adopting a visual style that evokes 1920s cinema, stark black and white with an almost square 1:1.19 aspect ratio from the end of the silent era, replete with rounded corners to the frame. The staging is similar with minimalist shallow-depth sets against smoky, eerily projected backdrops. This is a film that prizes atmospherics above all else, clearest perhaps from Katherine Hunter’s haunting performance as the prophesying witches, contorted in bird-like garb and movements. Denzel Washington delivers a thoughtfully low-key Macbeth, whilst Coen regular Frances McDormand is excellent in the early scenes as the instigating Lady Macbeth, but her role feels slightly sidelined in a script that compresses the play into under two hours. Brenden Gleeson stands out amongst a supporting cast which at times is overshadowed by Coen’s preoccupation with atmosphere. This is Shakespeare designed for a modern audience but not for mainstream appeal.

8/10

QuickView: Almost Famous (2000)

“They made you feel cool. And hey, I met you. You are not cool.”

Lester Bangs

Set in the early 1970s, toward the end of classic rock and roll’s heyday, this is less a story about music than William, a naive likeable youngster finding himself whilst touring with his favourite band, writing for Rolling Stone magazine, and trying to resist the allure of the trappings of fame. It touches on industry issues like rivalry between band members and the encroaching capitalist record companies, but ultimately Cameron Crowe’s brisk and witty script is more interested in the individuals, both within the band and outside. Crossing the divide for William is the magnetic Penny Lane (apparently based on a real individual) who is romantically involved with one of the musicians, but takes William under her wing. Her espoused wisdom is catchy and yet ultimately impossible: “If you never take it seriously, you never get hurt. You never get hurt, you always have fun.”

8/10

QuickView: Three Billboards Outside Ebbing, Missouri (2017)

“My daughter Angela was murdered 7 months ago. It seems to me the police department is too busy torturing black folk to solve actual crimes.”

Mildred Hayes

Based on the talent involved, I expected to like this but I had no idea just how much. Starting with a mother seeking justice for her murdered daughter by calling out the local police department, this is really a journey through multiple characters dealing with grief and exploring the effect of tragedy upon our relationships, emerging as anger, love and fear. Frances McDormand, Woody Harrelson and Sam Rockwell are stellar in portraying richly nuanced characters, and are accompanied by an excellent supporting cast. Many scenes are soaked with such powerful emotion, whilst avoiding sentimentality through use of raw drama and dark humour, that watching the film is a cathartic experience. Of particular note, it is rare and refreshing that we see a female character whose grief is expressed through violent, misplaced rage. Martin McDonagh proved his talent with In Bruges but has seriously upped his game.

10/10

"A film is a petrified fountain of thought."

(CC) BY-NC 2003-2023 Priyan Meewella

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