Dans la brume du soir

This film was very life-like...and seemed very realistic. I wouldn't watch it again because is was a bit slow and somewhat depressing. It really didn't seem to have a lot going on except watching the downward spiral of a couple's grief. Olivia Wilde is a very believable actress and the acting in general was great...it just wasn't my kind of film.

This film is a good reminder for me to not follow film ratings alone as an indicator of quality when deciding whether or not to watch something.

I'd put this in my Netflix queue and when it came and I sat down to watch I was dismayed by early occurrences. Surely I hadn't decided to order this . . . this genre . . .

I visited the critiques here, was discouraged by the 5.2 rating but trusted the intelligence I encountered here in the reviews and went back and saw that, yes, this IS a good film.

The editing . . . the single shot of Phil where we see for the first time, on the left side of the screen his attire and suddenly know his profession, and at the same time on the right side of the screen, reflected in the car's windshield, what is on the dashboard. In a second, an instant, we know so much more about Phil.

The music is just right and enhances each mood.

It's a well crafted film.

It is very sad.

And it is very good.

This film was heart wrenching but beautiful.

It's a look at the story of how a couple cope with the loss of their son, and the pernicious effects of grief over time. The title itself, Meadowland, seems to be the mental land where the suffering protagonists go to escape, the dream land that exists to maintain the last shreds of hope in the face of overwhelming pain.

It makes an excellent job of conveying the gradual deterioration of the ability to cope with not knowing, not being able to say goodbye and the juxtaposition of the need for closure with the incredible fear of accepting the inevitable.

It's brilliantly acted and well scripted. The pace is slow but filled with mounting intensity. The film holds its breath, never spilling into melodrama, but holding in an enormous sense of tension and conflict, thus creating a direct line of empathy for the situation of the main characters.

But it's not all doom and gloom, well it is all doom and gloom, but it examines that darkness at the place from which it emanates; love.

Poetic and sincere.

This film tells the story of a married couple, whose young son disappeared in a petrol station, right under their noses. They react and grief in very different ways.

The name "Meadowland" doesn't reveal anything away, so the plot remains a secret to be revealed. As the plot unfolds, the vastly diverging journeys of the two adults become very gripping and engaging. What they have to go through is devastating, and I do feel for them. The mother's denial and maladaptive coping is so heart wrenchingly played by Olivia Wilde. She is the true star of the film. The ending is very effective and communicates without words. I'm moved by this story.

One of our few female Cinematographers Reed Morano steps behind the camera in a different way to make her directorial debut on "Meadowland," written by Chris Rossi in his screen writing debut. Starring Olivia Wilde and Luke Wilson, the film tells the story of Sarah and Phil, a couple who suffer an unimaginable loss and deal with the grief, loss, and hope in two completely different ways. Phil's own moral compass is challenged while Sarah begins to deteriorate, falling deeper into herself and losing all hopes of coming back. "Meadowland" is a methodical and at times very compelling film that presents an intimate portrait of grief and hopelessness.

Reed Morano hawks back to similar feels of films like "Shame," capturing a long shot within a New York street or "Half Nelson," deconstructing the mind of a struggling educator with a student in need of their own guidance. Morano frames the film spectacularly, as you could expect no less from the woman who shot "Kill Your Darlings" and "Frozen River." She appeals to our sensibilities as humans, and puts forth authentic reactions and behaviors of two human beings that can't imagine a world that their presently abound. That's also thanks to the palpable tension and drama set by scribe Rossi. These are two of the strongest debuts by a writer and director team seen in quite some time.

Challenging Jessica Biel ("Bleeding Heart") as our Hollywood hot girl taking on an indie film and knocking it out of the park at Tribeca, Olivia Wilde is electrifying. Standing out in her own way in films like "Her" and "Rush," Wilde finds her niche, accurately portraying a mother on the verge of breaking down but desperately searching for something to keep her afloat. Wilde delivers her finest acting performance of her career yet and is simply astonishing. There's so much that Wilde reveals in subtle moments of silence, whether its watching "Wheel of Fortune," or observing a boy struggling to make friends, she keeps things bubbled to the brim without spilling over. A tremendous and extraordinary actress has emerged.

In one of his most serious and heartbreaking roles, Luke Wilson surprises as the effective Paul. He internalizes much of the grief that lives within his veins and in certain moments, unleashes them but not in the stereotypical bombastic manner in which you'd expect. It's a real and intelligent portrayal, devoid of happy endings and clichéd heroism.

John Leguizamo is taking on an indie market again and its fantastic to see. Building even more excitement for a career post-Mad Men, Elisabeth Moss is superb in a brief role that should have been expanded beyond what was given. Returning to his roots, Giovanni Ribisi excelled in smaller films until Seth MacFarlane got his claws on him for TV and "Ted" (which admittedly he's hilarious in). As Tim, Paul's drug-recovering brother, Ribisi begins to revive the talents that made him so amazing in his early years of his career. In smaller roles, Mark Feuerstein, Merritt Wever, and Juno Temple all get their moment.

"Meadowland" is a fascinating piece, sometimes subtle in the way it presents its material, other times bombastic all leading to a finale that speaks multiple volumes about our own innocence. It's a film that will hopefully find a home with someone caring enough to nurture it into the right audiences.