Using Kelly Reichardt’s ‘Old Joy’ as Inspiration
In 1994, one of the most underrated American filmmakers currently working today, Kelly Reichardt, got her start at the Sundance Film Festival with her debut, “River of Grass.” Ever since, she has been curating poignant, observant portraits of the working class, particularly those who live in small, rural communities. She uses a minimalistic style to create a true-to-life effect. The indie-cinema American filmmaker helps us connect with the characters and setting by crafting touching depictions of people trying to find meaning in the world. Her characters are at the margins of society, eagerly seeking ways in which they could live a better life. Whether it is a struggling artist in Portland or a group of environmentalists trying to explode a hydroelectric dam, Reichardt’s primary focus is to put grounded texture on her canvas.
One of Kelly Reichardt’s most recognized works is 2006’s “Old Joy.” Reichardt uses a trip to the wilderness as a panorama for reflection and emotional contemplation. This makes her characters grapple with the state of the world. All the rapid changes they had to come across were difficult to manage, even if they arrived involuntarily. Although these characters’ human interactions primarily leave the impression, the landscape plays a significant role in the film. Almost two decades have passed since the release of that film. And even though it is still unseen by the vast majority of people, like most of her work (unfortunately—I hope that changes sooner rather than later), many filmmakers use it as inspiration for their pictures.
The latest director to use that film as a reference point—for its observations about alienation, discomfort, and existentialism (to some degree)—is India Donaldson with her intimate, delicate debut “Good One” (screening at the U.S. Dramatic Competition at the 2024 Sundance Film Festival). In this feature, Donaldson takes a father-daughter story and breaks the mold of what we tend to see develop in these types of pictures. Instead of behaving like your regular coming-of-age picture, at least those playing at the festival alongside this one, “Good One” is more like a travelog of quiet yet thoughtful notions about a teenager’s transition to finding her sense of self. Beautifully scripted with humanistic and introspective characterization, Donaldson’s debut is a small-scale picture with substantial notions.
An Uncomfortable Bagback Trip to the Catskills
“Good One” revolves around Sam (played by the revelatory Lily Collias, whose glances are piercing and do wonders for the story), a seventeen-year-old girl who is going on a backpacking trip to the Catskills with her father, Chris (James Le Gros), and his oldest friend, Matt (Danny McCarthy). In reality, Sam doesn’t want to be there; she’d rather be doing other things with her friends. Since her parents are divorced, Sam doesn’t visit him as often. And she won’t see him in even more extended periods since Sam is heading to college in a couple of weeks. Their relationship is quite complicated. Chris is a very self-centered man who makes it hard for the people around him to feel seen on an emotional level. And, in the worst of cases, appreciated.
Chris doesn’t do that intentionally, as he doesn’t want to hurt his daughter. But he still manages to do some psychological damage that has Sam having an internal conflict herself. It is a complex situation that she’s part of. Yet Sam goes through with it and tags along just to spend time with her father. Equally toxic and self-absorbed is Matt. The abrupt conflict with his eldest son from his divorce, Dylan, caused this four-person trip to be cut to three. From the moment Matt enters the car, Sam begins to grow uncomfortable. She wants to disappear into her world and embrace nature as the trip continues. She is uncomfortable because these two men keep crossing boundaries.
This particularly applies to Matt. He turns a moment of emotional relief and contemplation into one with a disturbing, fraught nature in a quick second. India Donaldson creates an array of rich, multi-layered dynamics that feel like they have been based on real-life experiences and collective frustrations. She puts so much care and thought into each line that you can sense where this is rooted from. There’s a lot of attention to detail in how each character behaves, reacts, and even looks onto the horizon. These two men often discard her from the conversation. When Sam tries to open up or say her opinion, they immediately interrupt.
Lily Collias Delivers a Breakout Performance Full of Piercing Glances
This is where the silent nature of Collias’ character excels. Donaldson comes up with many astute observations for Sam to ponder. She now sees both her father and Matt as people with an ailment without remedy. Their respective yet somewhat similar mid-life crises are overtaking their sense of self. It is a psychological examination that prepares Sam for future interactions and separates this movie from its coming-of-age label. However, those conversations aren’t the only methods used to develop these sensations and themes. The mannerisms and facial expressions of the cast are the key to why “Good One” happens to strike a more profound impact.
Lily Collias delivers a subtle, astonishing performance. Each glance at the camera makes you feel every inch of her character’s psyche. What makes her performance shine is how she captures the emotions in the most ground way possible without saying a single word. Her acting feels natural instead of calculated and focused on conjuring overly emotional scenes. I would like her to continue working with Donaldson, creating a Kelly Reichardt-Michelle Williams-like relationship in the process. I think she would also fit in perfectly with Annie Baker. Coincidentally, Danny McCarthy has worked with Baker by starring in her play “The Flick.” She’s an independent cinema star in the making, and no one can tell me otherwise. Because of these aforementioned reasons (and many others), “Good One” is one of my favorite watches from the Sundance Film Festival.
“Good One” screened in the U.S. Dramatic Competition as part of the Sundance Film Festival 2024.
