“Wendy and Lucy,” Kelly Reichardt’s existential road movie starring Michelle Williams as the titular Wendy, an Indiana woman heading to find work in Alaska, is the American cousin to the Dardenne brothers’ “L’Enfant.” Both films are quiet, simmering, sociological thrillers featuring hamster-on-a-treadmill protagonists whose odysseys to recover loved ones are set in motion by a single, desperate, money-related screw up. Like the Dardennes, Reichardt is interested in studying the intricacies of everyday life for those living on the margins—and society’s cold indifference to their very existence.
To read the rest of my review visit The House Next Door.
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