I’ll begin by apologizing for my tardiness as festival fatigue has finally worn off following its conclusion. I saw a total of fifteen films at this year’s Philadelphia Film Festival, most of which were well worth seeing barring a couple of duds. This sheer volume of viewing paired with my continuing obsession with comparing my opinions with others’ yielded something fruitful, more specifically an overarching moment of self-reflection regarding my personal tastes. I’ve further distanced myself from past fears of harboring dissenting opinions, and thankfully, I feel much more confident in ironing out the criteria to befit my growing canon of personal favorites. Catching up with wide-release fare I’ve missed throughout the festival’s duration will prove tiresome, but I plan on eliminating a few blind spots in between these viewings whenever possible. Feel free to check out my ranked list of everything I saw at PFF24 here.
A blissfully wedded couple lives a modest life in a comparably modest suburban town. On the cusp of their 45th anniversary, a mysterious letter addressed to the husband Geoff (Tom Courtenay) details the unthinkable: a former flame thought forever lost in a tragic hiking accident has been found, preserved in an icy tomb. Despite the length of time separating the present from his last memory of her, Geoff and his wife Kate (Charlotte Rampling) become increasingly affected by this startling turn of events to little gain. Only a mere week will tell if this formerly idyllic marriage perseveres or is steadily upended by undisclosed truths.
Andrew Haigh’s sophomore feature is a discernible departure from his preceding Weekend in that it forgoes burgeoning romance in favor of longstanding marriage and singular complexity of scenario. 45 Years finds strength in its beautifully restrained trappings, echoing Kate and Geoff’s quiet existence with a calculated method of storytelling that avoids melodrama while remaining undeniably moving. The film thrums with a slow-burning uncertainty that unsettles but not in a traditional sense, taking care in examining Geoff’s existential turmoil in the wake of receiving the news at the film’s forefront.
There’s an assured sort of procedurality to 45 Years‘ progression as both Kate and us as viewers question the validity of the relationship that’s defined a bulk of her life. Haigh’s focal acuity in employing something as simple as Kate’s thousand-yard stare to convey inner anguish is stellar, as is 45 Years‘ avoidance of hammy dramatic tropes that procure easy answers. Kate and Geoff’s situation is uniquely oppressive in scope, the delicacy of which is handled via deft subtlety that packs as much of a wallop as anything louder and overwrought could and assuredly has.
Decidedly plodding as it is, 45 Years‘ sensitivity in dissecting this couple’s newfound hardship is at once excellently rendered and quietly devastating. Haigh’s refusal to bash us over the head with emotional bombast establishes the film’s laudable sense of self at frequent intervals, remaining effectively contemplative of the situation in play and how dire Kate and Geoff’s predicament really is. 45 Years is undoubtedly a modest triumph in purely humanistic storytelling that has no trouble in finding and maintaining its footing in terms of scope.
This year’s festival circuit has yielded quite the crop of talent. From reemerging masters to fledgling auteurs, this fall season has me itching to see what many already have. I’ve done my best to avoid spoilers as I steadfastly compiled a list of what I’d most like to see at this year’s Philadelphia Film Festival, of which begins this Thursday with two back-to-back screenings of Charlie Kaufman’s Anomalisa. I’ll be attending the earlier of the two thanks to the convenience offered by my work schedule, and throughout the ten days that follow I’ll be seeing an additional fourteen films. Part of me is questioning my resolve in relation to the task at hand, then again I live here and am offered the luxury of being able to space these screenings out accordingly to much of my own excitement. I invite you to peruse my full schedule below as well as my list ranking of everything I’ve seen this year thus far here.
After neglecting this feature for the latter two months of yesteryear if only for diminished viewing habits, January marked a fresh (re)start for me as I took in some relatively pleasant surprises. Having been silently dissatisfied with my best of 2012 list, I mostly sought out those few stragglers that either slipped under my radar or eluded my local theater entirely, not to mention a title or two that Netflix Instant’s been brandishing in front of my face for much too long. Enjoy, and feel free to compare your lists with mine! Continue reading