India Donaldson brings an unflinching eye to this well-observed, fraught father-daughter camping trip. Our Good One review:
trades in voyeurism, but not necessarily the type you’d expect from a nervy Sundance debut. Low-key in approach but deeply observant, much of the movie involves Sam , a 17-year-old girl, watching and listening in plain sight. Sam’s dad Chris and his longtime friend Matt know that she’s there; sometimes, they even address her directly, or solicit her opinion about this or that, as the three of them embark on a camping trip.
The audience better understands Sam’s watchfulness because Donaldson zeroes in on the face of her young lead, catching Collias in a range of expressions that far eclipse the stereotypical teenager repertoire of eyerolls and glowers. Those are there too, sometimes, but Sam also exhibits a kind of flickering skepticism over whether she can give these men the benefit of the doubt – or, in her father’s case, years of both love and frustration.
Having Matt there breaks tension at first, but ultimately may not be worth the levity he tries to bring. The lopsided camping trio is supposed to be a squared-off quartet, but Matt’s son, only glimpsed at the beginning of the film, bows out following some kind of hotheaded exchange with his sometimes blunt-spoken semi-failed-actor dad. Matt insists on proceeding as planned, and the remaining hikers head out of a damp summer-season New York City and into a forest upstate.
Donaldson is closer to Reichardt in terms of incident and quiet; not overmuch of the former and plenty of the latter. Yet the movie does turn on a betrayal – a couple of them, even – with the clarity and grace of a perfectly wrought short story. At the same time,takes advantage of its medium, specifically the way that film can depict bits and pieces of conversation, conveying what’s overheard as well as what’s heard, at a distance that can be awkward to convey on the page.
The flipside of Donaldson’s close and careful observation is that even smaller developments start to feel inevitable in a quasi-literary sort of way. Once the story makes its biggest turn, the movie becomes more predictable, just a tiny bit easier to chart out, right up to its open ending – one moment that probably would work better with just the right closing sentence, rather than the particular image the movie lands on. Still, this is a striking introduction to Donaldson’s unflinching eye..
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