As Fran, an intensely shy office drone in a small Pacific Northwest city, Ridley would initially seem to have little to do. Her character barely speaks for the first half or so of the film, mutely reacting to her nattering coworkers and offering monosyllabic answers to direct questions. But in the film’s dreamy abstraction, we also glimpse Fran’s complicated psyche. Her mind often carries her into death: she imagines herself silent and motionless in a verdant wood, or on a lonely beach.
That’s a strange thing to try to relate to people—indeed, why would you even try?—so Fran is lost to isolation. Until, that is, a new coworker arrives and Fran timidly coaxes herself out of her fog. Ridley must communicate a lot with a little, which she does with compelling nuance. I wish the filmmakers had given their lead character a bit more to do and say, or had a more concrete explanation for her near-catatonia.
Still, her film was a rather lo-fi way to start the festival, the first Sundance gathering held in person in three years. That grand return to snow-boots-on-the-ground reality has brought with it an air of excitement, audiences seeming happy to be back in the high-altitude cold. A light snow welcomed us back on Thursday night, as the festival pointed itself toward a weekend of buzzier fare than the opening night offerings.
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Source: THR - 🏆 411. / 53 Read more »