The best film of the year...thus far. A surreal fantasy masquerading as a tense psychological thriller, this was a quintessential and unabashed Charlie Kaufman film. It was bitingly smart and uncompromisingly intelligent (unlike, say, Tenet) but yet darkly funny, oppressingly tense/creepy and peppered with unexpected poignancy. But most of all, it was anchored by terrific performances from its two leads - Jessie Buckley and Jesse Plemons - and the scene-stealing Toni Collette and David Thewlis. If Wild Rose did not convince you that Buckley is a star, her superb, chameleonic performance here will; and Plemons has been underrated long enough! This was not a film for the casual viewer. It demands attention and it will reward you at the end, and stays with you even longer.
It is always a privilege to be able to glimpse into the mind of Kaufman, and no one else would have been able to translate his screenplay (from the book by Iain Reid) as well as he could. Kaufman's directing and writing was in sync and so capably transported the audience into this world.
Similarly, kudos to the production design team, the cinematographer, Łukasz Żal, who also worked on the equally sumptuous Cold War, and the music composer Jay Wedley. The whole team had created a brilliant visual landscape and aural soundscape that enveloped the viewer. The confusion, the unease, the sense of dread, the fear, the longing, the sadness, the lost, the happiness, the acceptance, all these and more were heightened and enriched by Kaufman and team.
Saying anything more about the plot will ruin the film, but safe to say, it was similar yet different from its source material, and really only something that Kaufman could have imagined. This was truly Kaufman's best work since Eternal Sunshine of a Spotless mind sixteen years ago (and Being John Malkovich was 21 years ago!).
Buckley remained astounding and it was a crime she was not nominated for an Oscar for Wild Rose last year (at least she got a BAFTA nomination; her Oscar nom likely went to Cynthia Erivo and perhaps either Saoirse Ronan or Charlize Theron should have given up their spot...just saying). Nonetheless, Buckley turned in a fearless performance here all while spouting Kaufman's long monologues that ranged a multitude of topic. Her face was a canvas for the myriad emotions that her character had to go through and never once did it ring false. As ostensibly the audience surrogate, we tracked her journey through this one surreal evening and we felt what she felt. We were seldom ahead of her and that feeling could be very confusing.
Plemons needs to be recognised by the mainstream audience and be rewarded for his consistently good performances in all mediums. In television, he broke out in Breaking Bad and was great in the second season of Fargo and the USS Callister episode of Black Mirror; and in films, he had multiple small yet pivotal roles in Vice, The Irishman, Bridge of Spies, The Post, amongst many other award-winning films. He is such an underrated actor and perhaps that is his charm. His character appeared unassuming but yet we see flickers of a multi-faceted, complex human being. The layers of complexity that Plemons brought to this role was amazing.
Collette and Thewlis made a perfect pair. They seemed to be having so much fun in their scenes especially Collette. They are fascinating to watch, and the dinner scene with all four of them was easily one of the best scene in the film. The effortless transition showed all of their mastery in the craft.
This was easily, hands down, one of the best films in a long time. A smart, uncompromising film that delivered. An Oscar nomination for Best Adapted Screenplay and Cinematography will be likely, but given its high brow nature and esoteric storytelling, anything more will be a surprise, albeit a very welcomed one.
This film absolutely deserved repeat viewing - like all good Kaufman's films - and what else is there to do under lockdown in these unprecedented times? Stay through the credits and read them for some nuggets and easter eggs.
