I
was glad to go back and revisit the films of Kelly Reichardt. It’s a pleasure
and privilege to be able to see these films again, as they are so subtle, so
full of quiet notes that come out more and more on repeated viewings. Since Old
Joy, she has built quite a reputation as a filmmaker who is able to do so much,
while seemingly doing too little. Her films are subtle – but build to a kind of
heartbreaking moments in the end. Watching them all in the span of a few weeks
shows just how she is able to do – she shows everything, explains nothing – and
yet you understand everything.
And
now onto to an updating ranking. I was honestly surprised that it changed so
much, even if my overall opinion on the films didn’t really change that much.
Maybe it’s just the way they hit me at the time.
7. River of Grass (1994) – Reichardt’s
debut film shows an immense amount of talent – you can tell this director is
going to become someone great, even if you never would have seen what was
coming. The time between this and her sophomore film probably helped to better
refine her style. It’s a fascinating debut – a time capsule of 1990s indie
films in many ways. It isn’t great, but its very good, and fascinating to see
the differences in what she would become.
6. Night Moves (2013) – This
is clearly Reichardt’s most mainstream film – a thriller with more of a plot
than she has ever done before or since. But Reichardt nails it – particularly
in the first half of the film, which subtly, slowly builds the tension to an
almost breathless level. The second half is more standard – but still effective.
And the film uses Jessie Eiseneberg wonderfully well in a role that is opposite
to what he normally does.
5. First Cow (2020) – I was amazed when I had to find where Reichardt’s
great First Cow would rank among her films – and it ended up this low. This shouldn’t
be taken as an insult to her newest film – basically films 2-5 – are almost interchangeable
in terms of their quality. This one is a deft blending of genres and themes,
brilliantly being a portrait of male friendship, a Western, and a look at capitalism,
etc. Just a great film.
4. Meek’s Cutoff (2010) – Reichardt’s
Meek’s Cutoff is a fascinating, strange Western – a one-of-a-kind Western
really, focusing on women’s role. The film is brilliantly shot in Academy
ratio, trapping the characters in this vast wilderness. The film doesn’t
nothing showy, but does it all brilliantly. It really belongs on a list with
the best modern Westerns.
3. Certain Women (2016) - The
third segment, involving Kristen Stewart and Lily Gladstone – is perhaps the
best thing Reichardt has ever directed, a perfect, heartbreaking mini-masterpiece.
The other two segments – starring Laura Dern and Michelle Williams – are both
very good, but if it was only them, this would probably be a spot or two lower.
Still, it’s amazing that that a trio of stories works amazingly well.
2. Old Joy (2006) – I
loved Old Joy in 2006, but I think I loved it even more this time around. This
tale of strained male friendship – of two men who have gone their own ways, but
get together for a camping trip for their own reasons, is it the type of film
where people will complain nothing happen in. But really, everything happens in
the film. My opinion on this film increased drastically.
1. Wendy & Lucy (2008) – My
favorite before the rewatch remained my favorite after – a heartbreaking,
simple film about a woman running away from something (herself most likely) on
her way to Alaska whose car breaks down in the Pacific Northwest, and endures a
couple of days of hell. Michelle Williams is brilliant, and Reichardt’s
direction has never been better. An understated masterwork.
And
that’s it. It was a pleasure to revisit these films – all of which are worth
your time, either for the first time, or as a rewatch.
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