The Deepest Feeling Always Shows Itself in Silence.
-Marianne Moore
American films of late seem to have lost the ability to get back to being human. After watching a month packed of foreign films, it’s clear to see the affliction of lost connection in storylines is predominately an American crisis. And I’m not the only one noticing. Last week I ran across a title of an opinion piece and dissertation in a US news site that read: “Film is No Longer the Highest Form of Art.” A pile high tower of treatments mount on the steps of studios and an equally tall pile of those are produced. The hope for dollars affects decisions to be sure, but when movies cost as much as they do to build, wouldn’t quality of art surpass quantity? Due West does. Due West, a film written by Evan Miller and Hardy Janson, uses humanity to pass the chock-full two days inside its pages. In clean cinematography and a steady pace, Due West accomplishes to grip audiences, if ever so quietly.
It may be chock-full of events, but these events move around in mysterious ways. Not a single scene has been used by direction as a filler. Every scene, evening the opening, has a significant message. It will be for you to use those messages as you may, For myself, it challenged my center belief system. It may not change me or my core outlook, but the film does an excellent job of allowing a slice-of-life and a deep inside-the-psyche journey dealing with a difficult choice, without becoming aggressive. Provoking yet without force. And oh yes, if you feel this commentary is ambiguous, that’s the point. Due West becomes supernatural through the most subtle of ways. Ambiguity, when used correctly, packs a punch. You will not know what is going on for a while. Direct success for Due West in keeping you confused but pulled by gravity. What you don’t know is the thing that stirs emotion. and whatever you feel is going on, is trying to persuade another course of action.
Here is where craft enters. Intention has been paid to the style of scene work, through angles and profiles, and as mentioned before neatly arranged inside super clean cinematography. A clarity of frame and light open you to connect to the main character- even if it does take some time and still not having a clue about what honest internal obstacles this character faces. Adrianne Palicki (Friday Night Lights, John Wick) plays The Woman, that’s right. She has no name mentioned. She could be anyone. Adrianne portrays a lost in thought, secretive woman challenged by … something. Palicki paces herself with enough sensitivity to keep us engaged and a frustrating aloofness to illicit confusion. At least, she had this effect on me.
Two huge supports, one supporting both technically and within the pains of outsider emotion handled by Henry Thomas as Pastor Mike (Gangs of New York, Legends of the Fall), the other Ciara Bravo as Haley (Wayne, Cherry) a spark of innocence conducting a magical subtle tug, in the opposite direction of wherever the story is headed. Thomas’ random timed arrivals appear on point with kudos to the direction of Evan Miller. Pastor Mike gently holds our hands as we breathe understanding by being able to see the significant contrast of peace vs. torment through his performance.
If art in films relates to heart in films, this one has both. And a touch of the supernatural. Presented this week at Dallas International Film Festival and available soon, Due West is certain to have a trail of awards following its premiers.
