Not quite an anthology and not quite a “vignette” film, writer/director
Kelly Reichardt’s patient, thoughtful “Certain Women” provides a glimpse into
the mundane lives of three hardworking, ordinary women as they demand respect
from those around them, try to make their mark on the world and seek out
meaningful connections. For the most part, the picture is divided into three
segments, each one focusing on a different woman, sort of like a short film.
The brilliance of “Certain Women” lies in Reichardt’s quiet
and restrained approach-- an approach that puts all of the focus on character
instead of plot and doesn’t talk down to the audience. The film is as
understated as they come; Reichardt doesn’t spoon feed or over explain. A lot
of the film’s substance is kept bellow the surface, implied through a facial
gesture or a seemingly straightforward line of dialogue. While not confusing or
intricate in terms of plot (in fact there’s not much in the way of plot),
“Certain Women” still requires your undivided attention, as it’s a film about
subtle gestures and observation.
Reichardt directs with unhurried grace and the three lead
actresses (Laura Dern, Michelle Williams and Lily Gladstone) give impressively
understated performances, performances that rely almost exclusively on subtle
facial gestures and body language rather than lengthy monologues or dialogue
heavy interactions.
The first segment focuses on Laura Wells (Dern), a small
town lawyer. One of Laura’s clients, Fuller (Jared Harris, pathetic and heartbreaking.
This might be his most tender, soulful performance) has been trying to sue his
former employer for workers comp but is unable, making him mentally unstable
and increasingly needy. This chapter is characterized by quiet frustration and
guilt. You sense that Laura is dissatisfied with the way her career has been
going thus far and feels like she isn’t being taken seriously. Fuller insists
on meeting with another lawyer (a male lawyer) to tell him what she has been
telling him for months.
There are times when Laura herself looks like she’s going to
snap, at having to deal with such a needy, frustrating person. During a car
ride, Laura has a look of utter irritation and anguish as she silently listens
to Fuller complain about his life. Though, she also feels a sense of pity and regret—regret
over the fact that she can’t do more to help her client. Again, most of this is
implied rather than out rightly stated in the dialogue or action.
The second segment revolves around Gina Lewis (Williams),
who’s currently in the process of building a house on a patch of land she
purchased, along with her husband Ryan (James Le Gros) and angsty teen daughter
Guthrie (Sara Rodier). This is probably the least compelling section in the
entire film. Although Gina’s determination to get the house built and the
underlying tension between her and her family is intriguing, the segment
ultimately feels incomplete. The other two stories, as understated as they are,
still have a sense of dramatic momentum and build to a satisfying conclusion.
However, this story feels somewhat flat and anticlimactic.
And then there’s the final story, which is not only the best
but also one that would make a great solo short film. It’s a tender, moving
meditation on alienation and the distances we travel (literally and
figuratively) to find and maintain meaningful connections with other people. An
awkward, lonely horse ranch hand named Jamie (Gladstone) goes to a night school
class taught by young overworked lawyer Beth Travis (Kristin Stewart). The two
eat dinner afterwards at a nearby diner and Jamie develops an attachment
towards Beth (whether Jamie’s attachment is plutonic or romantic is left up to
you to decide) and keeps coming back to the class. The post class meals become
the highlight of her day— giving her something to look forward to other than
work.
As someone who’s also shy and often seeks isolation, this
story resonated the most. Though I enjoy my alone time, I also greatly look
forward to the meetings and interactions with my few companions. Even
introverts need connections with other humans once in a while. Hell, we even
treasure some of them. Throughout the day, I think Jamie is happy and content
to take care of horses in isolation, but when she gets to see Beth, she’s ecstatic.
During one night, the look of utter joy on her face as she silently gives Beth
a ride on her horse to the diner is beautiful. Of all three stories, this one hit
home and held me the entire way through, building to a bittersweet conclusion.
“Certain Women” won’t
be everyone’s cup of tea. Some will find it to be too slow or take issue with
the film’s lack of plot. It’s not an easy film to watch, as it requires a lot
of work on the part of the audience to find all the details and nuances. But
for those who are patient enough, Reichardt’s picture proves to be a fascinating, varied portrait of women in smalltown America.
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