The Sunlit Night

Reading during the post-film credits that the film was based on a novel, I was not surprised. It had that feeling of abbreviation, i.e., that the various elements of the story were taken from the novel and thrown together to make a cohesive film. I enjoyed the film a lot, however, I think there could have been both more, and less. More in terms of a deepening of the relationship between the main character, Fran, and Yakov, the guy who winds up being in the same remote location in Northern Norway. Less in terms of the whole Viking piece in which Zach G. is an American playing at being a Viking King or some such thing. Then there was Fran's relationship with the painter she worked for which was not developed, and then the model who sat for her. The film was perhaps too short. But as I've said, I liked it a lot. I like Jenny Slate, and the scenery was quite spectacular.

Greetings again from the darkness. The journey to find one's self is not unique to artists, but for some reason, it's more cinematically appealing when an artist is involved. In this quirky film from director David Wnendt, with a screenplay Rebecca Dinerstein Knight adapted from her own novel, artists (of varying types) are everywhere. Of course finding one's self usually involves making peace with this quagmire we call life.

Frances (Jenny Slate, OBVIOUS CHILD, 2014) watches as three snooty art critics denigrate her latest work to the point of humiliation. Her long-time boyfriend dumps her, and she returns home to her parents, both artists. Instead of sympathy from the family, she's bombarded with news that her sister Gaby (Elise Kilbler) is engaged to a man her father loathes, and to top off the family dinner, her parents (Jessica Hecht, David Paymer) announce they are separating. Rather than deal with any of this head-on, Frances accepts an apprenticeship with an artist in north Norway. "Norway, Norway". Where the sun never sets.

Nils (Fridtjov Saheim) is the personality opposite to talkative, upbeat Frances. He grumps around while escorting her to the trailer she'll stay in for the summer. The project, seemingly uninspiring, is to paint a local dilapidated barn yellow - inside and out. Nils is under a tight deadline to finish the barn so it (and he) can earn a spot on the map of cultural sites. Close by is a Viking museum and community, where the folks, led by their Chief (Zach Galifianakis), re-create Viking life for tourists (or mostly themselves).

One day Yasha (Alex Sharp, HOW TO TALK TO GIRLS AT PARTIES, 2017) shows up. He's arranging a ceremonial Viking funeral for his beloved father (Olek Krupa). Father and son worked together daily in their bakery and developed a close bond. Sasha's mother (Gillian Anderson), who left them years ago, unexpectedly shows up for the funeral, hoping to lure him to live with her. Frances compares everyone she meets to subjects in famous works of art. It's her way of connecting art to the real world, as well as helping her find a place for people in her world of art. Frances and Yasha are drawn together in their search for direction and meaning, and we are led to believe this connection, no matter how brief or random their crossing of paths might be, helps her in her personal quest.

The cinematography from Martin Ahlgren captures this rarely seen top-of-the-world wonderland, and the landscape is truly something to behold. Ms. Slate is once again top notch in her role. She's likable and relatable, traits some actors struggle with, but which apparently come natural to her. And while we expect lives to be messy and complicated, we hope for a bit more from our movies. Frances' home life is drawn straight out of a TV sitcom, and the whole Viking village never really makes sense. It seems Frances is short-changed on all of her relationships here, yet the trip still manages to help her discover something in her art. And that's just about how life works - really messy right up until something clicks, and then back to messy.

I found this film best to just flow with. Don't worry so much about motives and where it's going. The film itself is a work of art, like the art projects in the film... getting worked out, part of something larger, of people, of place, of journeys. Beautiful!!

This movie was beautiful, and Slate certainly delivered a great performance of a messy, figuring-out-life artist who makes a bold move. But the relationship they introduced, which could have been left as a wonderful stranger dynamic, totally took away from story. It felt abrupt and unnecessary, and it diminished the very real characters they had established fairly well in the first half of the film.

It's how a painter grow up via the journey of herself from her home to a new place. The romance part is not strong but the way of how a painter become recognize is more the focus of the story. It's quite comfortable when watching indeed. Nothing huge but just cozy.