Although understated, Still Life asks some profound questions. What happens to those who are alone after they die? How should they be treated? Do their memories matter? Once life ends, is it OK to throw common decency out of the window?
The title is, of course, ironic. The house in question is a rambling refurbished dwelling deep in the Lake District, reached by driving through lonely wind-blasted valleys and across rain-thrashed hillsides. It's where a former policeman, known only as Robert (Christopher Eccleston), has come to heal himself after a traumatic near-death experience.
The burden of responsibility weighs heavily on a young man struggling to deal with his mother’s alcoholism, in Gerard Barrett’s powerful and poignant second feature. Jack Reynor, who so impressed in Lenny Abrahamson’s What Richard Did, turns in a nuanced and moving performance as a son driven to desperate measures in order to survive. Barrett empathises how difficult it can be to get by when you don’t have a regular income, or indeed plentiful cash to throw at your problems.
Ryan Gosling throws a lot at his first film as director but Lost River is a sign he has found a single discipline which can accommodate many of his scattershot tendencies. He does not, though, find a place for his own musical output in the avowedly arty Lost River.
DNA: there’s a lot of it about. Random Googling reveals that, just in the past few days, a new study claims arachnophobia may be programmed into our DNA, that the British share 30 percent of their DNA with the Germans, while in the USA they’re using DNA to track down dog owners who don’t scoop poop. This last may not be what Leicester University geneticist Professor Alec Jeffreys had a mind when he developed techniques in DNA fingerprinting.
Sometimes, nothing can prevent love blossoming. Sebastian’s second encounter with Andreas is punctuated by the latter vomiting after too much booze. It doesn’t put the brakes on the former’s growing passion for the leather-jacketed object of his affections. Soon, the pair are lovers despite Andreas declaring that he is not gay. He cannot resist Sebastian.
How would a sighted adult react to becoming blind? What would their anxieties be? How would they construct their new world? Could they construct one? All these questions are central to the Norwegian film Blind. Ingrid can no longer see and is attempting to find her way anew without sight.
“You're plain as an old tin pail and you're bossy.” Tommy Lee Jones’s George Briggs doesn’t mince his words while sitting across the table from Hilary Swank’s Mary Bee Cuddy. She’s just told him that “if you lied to me and intend on abandoning your responsibility, then you are a man of low character, more disgusting pig than honourable man.” This undeniably funny exchange shines like a gold nugget in mud when set against the overall tone of the formidable The Homesman, a western which Jones describes, in one of the DVD’s on-set extras, as “minimal.”
The Homesman also focuses on women in the west – Cuddy, unmarried and running her own farm, has taken on a job that no man will do. It’s the 1850s. After a terrible winter in Loup City, Nebraska, three wives have serious mental health problems. Life is grim, and seen unflinchingly on camera to be exceedingly grim. It is decided that the trio will be taken back east to Iowa and the care of a minister’s wife (Meryl Streep, in a cameo). No one will volunteer to make the journey so Cuddy says she will. This is man’s work – the work of the titular homesman. She comes across Briggs and engages him to accompany her. He’s no good and about to be hung, but the promise of $300 is enough inducement for him. The pairing is a classic odd couple.
Along the way, they repeatedly encounter hindrances: poor weather, an abductor and Native Americans. One hindrance is so unpredictable, it is impossible not to gasp when it comes.
Although bleak and unsentimental, The Homesman is shot through with humanity. And it's beautifully composed. Open spaces are captured with an austere magnificence. The music is fantastic too. After watching this powerful film, it’s a jolt to watch the extras and see Jones and Swank at Cannes in modern-day clothing – the world conjured by The Homeman is so persuasive that both actors seem indivisible from the parts they play.
Overleaf: watch the trailer for The Homesman
Sally Hawkins, Rafe Spall and Eddie Marsan form a super group of supporting actors in this heart-warming British coming-of-age drama which follows an autistic boy on his journey to the International Mathematics Olympiad (IMO).
Another tough night in with Jimmy McGovern. Banished may have taken ship to 18th-century New South Wales, whither the first British convicts have been expelled to a penal colony guarded by red-coated soldiers. But peer past the uniforms, the rifles and the tricorn hats and we have been lured yet again to McGovern’s favourite hangout, stuck somewhere between a rock and a hard place.