Ciertas mujeres

Greetings again from the darkness. This is surely one of the most intriguing movies of the year that is about women and by a woman. Writer/director Kelly Reichardt (Wendy and Lucy, 2008) has adapted the short stories from Maile Meloy into a film with 3 segments focusing on the daily perseverance of three women in small town Montana (including a rare Wyoming joke).

The first segment has lawyer Laura Dern returning to the office after an … umm … "long lunch meeting". Waiting for her is her client played by Jared Harris ("Mad Men"). The frustration between the two is palpable. Things take a turn for the worse as the sheriff calls Dern to the scene where Harris has taken a hostage at gunpoint. The issues on display here include the lack of respect for a female attorney, her unsatisfying personal life, and the one-way trust that can happen in times of desperation.

In the next story, we follow Michelle Williams and her husband James LeGros as they meet with a lonely elderly neighbor (Rene Auberjonis) and offer to buy some limestone blocks that have been sitting on his property for decades. The subtlety of the conversation embodies the missing respect and power of Ms. Williams' character.

Emotions are exploding beneath the surface in the third segment featuring horse handler Lily Gladstone as she stumbles into a class being taught by Kristen Stewart, and is immediately captivated by the smart young teacher. Where this attraction leads is further commentary on the challenges faced by those trying to escape the daily drudgery of their lives.

The above recaps don't come close to capturing the extraordinary quiet and stillness that director Reichardt uses in an emotionally powerful manner. These three women are all intelligent and filled with both pride and visceral disappointment … each quietly suffering, yet trudging forward with the emptiness each day brings. They each have a feeling of isolation – even if they aren't truly alone, and failed or lackluster relationships certainly play a role.

The acting and cinematography (film, not digital!) is as expert as the directing. Ms. Gladstone is truly a standout by saying few words out loud, but speaking volumes with her open and pleading eyes. The nuance of each scene is where the most interest is, and the overall mood of the characters and tone of the stories overcome the fact that we are plopped into these lives with little or no backstory. As each one softly crashes (two figuratively, one literally), we understand these are the faces of strong women who will continue to do what's necessary … even if that's shoveling horse poop. The film is dedicated to Ms. Reichardt's dog Lucy (a key to her personal and professional life).

"Certain Women" (2016 release; 107 min.) brings several stories about ordinary women in a remote community in Montana. As the movie opens, we get to know Laura Wells, a lawyer who just had a quickie with her lover over lunch time ("I had a meeting", she says to her assistant upon getting back to the office). Waiting for Laura is a disgruntled client, who feels he's been cheated out of an injury settlement he feels he's entitled to. An exasperated Laura decides to take him to another lawyer for a second opinion. At this point we're 10 min. into the movie but to tell you more of the plot would spoil your viewing experience, you'll just have to see for yourself how it all plays out.

Couple of comments: this is the latest movie from writer-director-editor Kelly Reichardt, the acclaimed indie movie director who previously brought us "Wendy & Lucy" and "Meek's Cutoff" (both starring Michelle Williams, who returns here as well). The movie brings three basically unrelated stories (based on Maile Meloy's collection "Both Ways Is the Only Way I Want It"), and they all involve very ordinary people and ordinary lives that are shook up in one way or another (I'm biting my lips here, but won't spoil anything). The first story stars Laura Dern as the lawyer and Jared Harris as the disgruntled client; the second story stars Michelle Williams as the wife/mother in a strained marriage. The best, though, is saved for last, when we watch with fascination (and heartbreak) what unfolds between Kristen Stewart (as the Livingston, MT lawyer teaching a school law class in faraway Belfry, MT) and Lily Gladsone (as the lonesome horse rancher attending the class). I cannot recall seeing Kristen Stewart being more authentic in any previous role, even as compared to her roles in, say, "On the Road" or "The Runaways". Another major plus for the movie is that Reichardt lets a scene develop. Certain camera shots seemingly last forever. I don't mean to be snobby, but one of the reviews posted here gives this movie the lowest possible rating and compares it to 'watching paint dry'. I feel rather sorry for that person that he or she cannot appreciate a high quality movie like "Certain Women" (it is not a coincidence that this is rated 96% fresh on Rotten Tomatoes).

"Certain Women" premiered at the Sundance film festival earlier this year to great acclaim, and finally opened this past weekend at my local art-house theater here in Cincinnati. The Tuesday evening screening where I saw this at was attended very nicely, and you could hear a pin drop during much of the movie, as the audience seemed glued to their seat and the big screen. If you are in the mood for a top-notch indie movie with several great character studies and correlating outstanding acting performances, you cannot go wrong with this. "Certain Women" is HIGHLY RECOMMENDED!

Kelly Reichardt is one of those director/writers who has made it their focus to film, the unfilmable, ordinary people in their downtime simply reacting or not reacting to things. This is all well and good, and each piece of Certain Women works beautifully on their own, but as a collection pulled together it feels random and unfocused and not in a good way.

The three stories of Certain Women are all set in and around the same small town in Montana and are also loosely connected (a few side characters show up in different segments which are more of a distraction than a convincing narrative thread). The women of the three stories are Laura (Laura Dern) a personal injury lawyer dealing with a disabled and embittered client who won't accept that he signed away his rights, Gina (Reichardt's muse Michelle Williams, working with her fort the third time) an uptight woman trying to get the material needed for her dream home, and Jamie (newcomer Lily Gladstone, amazing), a lonely rancher who unexpectedly falls for a lawyer she meets in the strangest of circumstances. The stories are all very undramatic and subtle but in Reichardt's hands the material absolutely sings. There is a lot of depth and nuance to these characters and it is wonderful to watch them. Unfortunately she does not afford equal time to all the characters and this has the effect of making her film feel lopsided.

The best segment in the film is the one with Gladstone's rancher, and I sincerely wish that Reichardt had worked out a way to pad it out with 40 more minutes of material because at 50 minutes it is the longest segment by far and it is the most interesting and the most poignant.

In rural / small-town Montana, three stories interact: a lawyer (Laura Dern) seems unable to set boundaries with an ex-client (Jared Harris) who is unhinged and deranged; a rather uptight woman (Michelle Williams) tries to find motivation in building a new home even though her husband and teenage daughter are growing more and more distant from her; a young rancher (Lily Gladstone) is infatuated with a recent law graduate (Kristen Stewart) who arrives in her town twice a week to teach an educational law night class.

"Certain Women" is written and directed by Kelly Reichardt and based on short stories by Maile Meloy. Like other Reichardt films (her best is "Meek's Cutoff" (2010)), this one tells so much in the unspoken word - where a silent reply says so much more than a bluntly worded statement. She is blessed with a superb cast who can make the viewer feel so much with a camera lingering on their faces.

It's tempting to think "nothing is happening" at the beginning of each segment. But once viewers catch on to Reinhardt's unique style, they can see that a lot is actually happening. The Gladstone/Stewart story stands out for various reasons and not just the great acting (Gladstone rightly won many awards for her performance). It provides a great re-telling of the tragic story of someone having a crush on another who aspires to be (or already is) in a higher class in the socioeconomic hierarchy.

Their story, like the others, have a theme of loneliness and isolation even for those who are surrounded by people. This film has a special and unique charm that is quite rewarding. - dbamateurcritic.

You know from the movie previews and the rumblings from the multiplex's adjacent theater that today's movies are heavily weighted toward "action films." Writer-director-editor Kelly Reichardt could singlehandedly reverse that trend with Certain Women, which can most succinctly be described as an "inaction film." It's kind of hard to get used to Reichardt's pace, so you might watch this and think "Wha---?" Here, the drama is at the deep inside the characters, hidden from all views except the closest. And that's what it gets from Reichardt—"a poet of silences and open spaces," says A.O. Scott in the New York Times. Based on short stories by Maile Meloy, the film is set in and around Livingston, Montana, and the views of the lonely snowswept plains are breathtaking. The story is presented in three separate vignettes that barely intersect. In the first, Laura Dern plays Laura Wells, a lawyer trying to convince her persistent client (Jared Harris) that he can't sue his former employer for on-the-job injuries because he already accepted a settlement. The client doesn't believe it until a male lawyer tells him the same thing. She's disappointed at many levels—with her clients, her career, her love life. The middle vignette involves Gina (Michelle Williams), a married woman with a disaffected teenage daughter. She and her husband are building a new house, and she hopes to convince a slightly addled, elderly neighbor (Rene Auberjonois) to sell them a pile of unused sandstone blocks in his front yard. Behind Gina's bright smile, you can feel her irritation that the neighbor focuses his attention not on her request but on her husband, eliding the decision, and finally the husband sells her out. Even within the bosom of her family, it's clear, she's alone. The dreamiest and most poignant sequence follows the young woman Jamie—beautifully underplayed by Lily Gladstone—on her daily routine, feeding and caring for a group of horses on a remote ranch. The repetitiveness of her tasks in the snowy, mountains in the distance, is mesmerizing. Her routine and her equilibrium are disturbed by a chance acquaintance with Beth, a harried young lawyer played by Kristen Stewart, overwhelmed by her own, very different grind. The extent of Jamie's disturbance is painfully revealed in her quiet face, upon which "silent passion surges like an underground stream," Scott says. The acting is subtle and true, and Reichardt closely follows the dictum, "show, don't tell." Her characters don't scream and rail and tell you what their issues are. You see it laid bare in front of you.