Fine scenes of friendship – variety3 min read
The most accidental breakups in life are not with lovers, but with friends: people we once believed in our most preserved truth, lost to strangers year after year, or worse still, to the occasional acquaintance of humility. Yet we rarely mention these breaks. We speak of “being separated” or “touched to lose” or something that makes the sound of loss less intense, as if our friendships carry less weight than our romance. We even belt them up with phrases like “friends only” as if the title is somehow less complicated. Uninterrupted marital drama is a genre in itself; Rare films that test the progress of platonic friendships with equivalent gravity and complexity.
Dan Salitt’s “Fourteen” is a: The best, middle-class friends’ intelligent, intriguing, but ghostly reading, whose bonds become burdensome as they grow older, it doesn’t support us to portray our friend-movie clich বা or melodramatic angst to our friends and They surpass us. It is at once seismic and abruptly mundane that the separation steps of documentation. Solit is an artist who is comfortable with discomfort: “Fourteen” is the first feature of a critic-filmmaker since the “Unspoken Act” of 2012, where people hate to identify or discuss such sensitive areas because of a sibling relationship. His latest, though it trades less on taboos, would like to consider equally neutral feelings and types of human relationships as simple.
“You’re a kind of weird couple,” observes a mutual college acquaintance Mara (Tally Medal, also led by Solitaire in “Unspoken Law”) and Joe (Norma Kuhling), not surprised to see that their friendship lasts perfectly. Puberty On the surface, you can see what he meant, starting with the visible contrast between Mara – the tiny, dark and stiff face – and Willowy, the hairy-haired Boho blonde Joe. One is grounded and intelligent, the other is persuasive and not believable: whatever you guess. Yet it doesn’t take long to see their shared weaknesses and defensive instincts, which have expanded into their mutual care-based professions: Mara is a kindergarten teacher and Joe is a social worker, although the former keeps his job even more strongly because of later mental illness. Is annoyed.
As a child, he was the one who rescued Mara from school bullying; In their decades, it’s Death who has helped keep her friend’s fragile life together, even though it’s a job she feels less equal as the years go by. Solit introduces us to friendship only from the point of view of Mara, as Joe wanders into the irregular breaks of his life. Acting as his own editor, the director beautifully creates chronological ellipses and alligations in the image’s own stopping, glancing, but seamlessly relating to the linear structure. Joe thus becomes a growing unconscious, a somewhat inconsistent presence in the eyes of the viewer and the protagonist. As well as a sensitive eviction of mental health cruel, easily misunderstood irregularities, some of the “fourteen” friends achieve the contrast of platonic friendship in the film in this way: your closest friend is not even close to ‘growing up, realizing the chaos’ even when you’re a stranger.
Medal and Kuhling, both great, don’t quite match their characters. The presence of the previously conscious, embedded screen gives us a firm, anchoring perspective that the later range, the room is beginning to feel narrowed by the consuming physicality and airy. It is easy to see that the magnetic connection between the two has become a separate force with the best willpower of the world, together exhausted and incompatible.
Christopher Messina’s clear, intense cinematography often settles on the negative spot between the two, or visually pushes the distance from each other when the camera says off of the camera ab occasionally, surprisingly gives the film oxygen for long periods of time, from intermittent, strangely transfusing shots. High places in New York in the thin suburbs from the train station ় track: “fourteen” is a relationship drama with Mr. iqu tara chooses moments of his loneliness.
In digital releases after conducting a wide-ranging festival in 2019, “Fourteen” would probably see the minimalist drama under normal circumstances. The film’s dialogue-driven narrative and intimacy, lumped, face-free lensing make it quite expansive-friendly, although there’s a cinematic opportunity in the air to test the volatile relationship seen over the years: 99 minutes in a blink of an eye, capturing both elasticity and time. The relentlessness of the cut, drags the man along, and then into his current state.