Heartland

There is a little disconnect in Heartland. The opening, the main story (once the brother and girlfriend arrive), and the end. The three are related but a bit disjointed.especially the ending which goes off in a rather unexpected and not totally well developed, even if somehow satisfying direction.

I found the depiction of small town events to be quite convincing for the most part in particular the picnic scene and the sales pitch for a multilevel marketing product was so spot on.

The main romance section was well done and convincing as was the eventual reveal even if the aftermath will leave one head scratching and a suffering bit of whiplash. Despite that it was the right ending.

All that said it was a good effort well paced and acted.

Heartland (2016) was directed by Maura Anderson. It stars Velinda Godfrey as Lauren, a young lesbian woman whose partner has just died. Lauren moves back to her family home in Guthrie, Oklahoma, to live with her mother, Crystal. (Played amazingly well by Beth Grant.) Crystal has been a widow for 15 years. She spends her time scrapbooking and going to church. She's unfailingly cheerful. She loves her daughter, but won't accept the fact that Lauren is a lesbian.

Enter Lauren's brother, Justin (Aaron Leddick), who knows how to pray when he has to pray, and how to earn money when there's money to be earned. His fiancé, Carrie (Laura Spencer) is from the Napa Valley, and she's out of place in Guthrie. When Justin has to leave on a business trip, it falls to Lauren to provide guidance for Carrie about the Guthrie culture. That's where the plot really begins.

I enjoyed this film, but it wasn't a movie I would recommend enthusiastically. It was interesting, but not ultimately satisfying.

We saw this film at the excellent Little Theatre in Rochester, as the opening movie of ImageOut, the outstanding LGBTQ film festival. This was Heartland's New York State Premiere.( Everyone assumes that any independent film that will open in NYS will open in New York City. Not always.)

Director Maura Anderson was present for Q&A after the film. What she saw as the strength of her film was what made me slightly uncomfortable. Nothing really was resolved at the end. That's the film she wanted, and that's the film she made. I'm impressed at the way she carried out her concept from the start to the finish, and I give her my compliments.

P.S. For some reason IMDb won't accept my vote for this movie. I would have given it an 8.

P.P.S. Although Guthrie is only about 20 mile outside of Oklahoma City, it really is a rural part of the state. The National Finals Steer Roping Rodeo is held in Guthrie.

A colleague and I saw this movie because we thought the plot was very interesting and somehow original, the movie starts promising, but the minutes pasts and nothing happens, and nothing happens, sometimes gets very boring, we were expecting a more fluid romance, flirting, or some sensual scenes. And besides this we didn't identify with her pain and her grief, the story gets boring and boring. If you expect a reckless affair don't watch this movie.

I was surprised the IMDb rating wasn't higher. This is one where you should watch it and decide for yourself. I didn't expect a lot, but it far surpassed my expectations and went quite a way beyond. The portrayal of someone coping with the loss of a loved one to cancer was spot-on. They also nailed the confused and messy state of attraction and love. The portrayal of family life and a conservative community? Also apt. Thought the lead actress' performance was especially good. If you're looking for a cheap woman-on woman-movie (which, admittedly, can have its benefits at times), this is mostly not it (there was one notably passionate encounter). If you want a drama punctuated with a bit of humor that will leave you wanting a big glass of red wine, this is it.

Even as we hope for an ultimately heartwarming story, the movie wastes no time in ensuring there's little room to go anywhere but up. Early exposition presents us with the death of a loved one, and grief; cruel capitalist notions of housing, and the sundering of a life; the lack of care or support our society actually provides its citizens - least of all when they need it most; dismissive, condescending homophobia; the bonds, and limits, of family; and culture shock, and aloof snobbishness. All this cements the setting, and the themes, that will define the rest of the feature. Almost as quickly, however, we see how wonderfully earnest and heartfelt the picture is in following protagonist Lauren as she tries to grapple with loss, and forms a fast and close friendship with Carrie. Years of watching LGBTQ films has instilled a wary sense that every new addition to the loose genre needs to be taken with a grain of salt, as too many - even some of the very best - customarily tell a very familiar and often tired story of queer folks finding and losing love, if not also meeting a tragic end. Despite myself, though, 'Heartland' ingratiates itself to viewers in no time at all.

The themes and cultural differences that serve as the foundation of the narrative pairs uniquely with the warm sincerity of the physical setting, the place and the people. As a result, 'Heartland' is sometimes awkward and cringe-worthy at the same time that it's inviting and evokes nostalgia. It's a weird, delicate swirl of flavors, all in one: gawky, funny, infuriating, striking, lovely, and heartbreaking - but it works, as a cohesive, astoundingly well-rounded whole. It works because everyone involved clearly believed heart and soul in the story. Nothing in the production is approached with any less than than utmost care, from cinematography, music, and sound design to hair, makeup, wardrobe, set design and decoration, and beyond. Director Maura Anderson is not known to me, but she has some notable credits illustrating a firm background in film-making, and she proves her worth here with a balanced, thoughtful approach to orchestrating scenes, guiding her cast, and overseeing the production.

The writing is brilliantly sharp, vivid, and impactful. Star Velinda Godfrey, and fellow cast member Todd Waring, have devised a somewhat incredible screenplay that plays in recognizable spaces, but manages to skirt around the melodramatic tropes and pitfalls that characterize many of 'Heartland's' brethren. It does this with characters that are gratifyingly complex - filled with real and believable values, beliefs, and histories that sometimes conflict, just as is so with actual people, and little quirks that make them more complete. To these add dialogue that's rich and poignant, building and/or amplifying the characters, each scene, and every mood as it helps to propel the narrative. Much the same can be said of the careful scene writing, laying the guideposts for each moment that elicits such powerful emotions - while seeming to be sufficiently broad as to allow the cast to explore these moments, and their characters, and really embrace the full weight. And I cannot overstate how welcome and kind of refreshing the narrative is here. Again: it broaches story beats that we've seen before, and between the premise and the themes that are established so early it's inevitable a dire crash will come. Yet suffering, pain, and sadness aren't the crux of this tale - only ever the impetus for the real core: growth, self-discovery, centering oneself, rebuilding, moving forward. There are themes and ideas here that are melancholy, distressing, and all too real, but instead of a conclusive downbeat end, the picture leaves us with a small spark of open-ended, hopeful yearning. Frankly, it's outright marvelous.

And - forgive my loquaciousness - none of this would be possible without the tremendous cast. Everyone here is fantastically honest in their performances, demonstrating range and nuance and shining on the screen no matter the size of the part. Yet of course a scant few names stand out more than any others, and Beth Grant is very noteworthy as mother Crystal, bearing a certain duplicity in her demeanor; Grant is a dexterous actress who can easily slip into a character of any nature, and that ability is absolutely on display here. Aaron Leddick doesn't have nearly the same visibility, but is still solid as brother Justin, caught in the middle of a Venn diagram of bad timing and poor circumstances. More than Grant and Leddick, though, irrepressibly charming Laura Spencer is a great joy to watch as Carrie, and Godfrey is steady and sympathetic as protagonist Lauren. Both these women are awash in unenviable personal difficulties, pressures and demands, and quietly crumbling conceptions of stability, in different ways and to different degrees. There are similarities, though, that make both characters ones we can become instantly invested in. And Spencer and Godfrey wholeheartedly embrace them with splendid spirit and humanity that immediately endear them to us, both player and part. Individually they exhibit superb, vibrant acting skills that makes one wish for more good things to come their way - and as scene partners, Spencer and Godfrey are simply magnetic, with fabulous chemistry.

At risk of repeating myself, I entered 'Heartland' with particular expectations. Based on the premise alone I thought I knew exactly what the movie was going to be. I'm thrilled to acknowledge that I was mistaken: this is far more enjoyable, satisfying, rewarding, and indeed fulfilling than I could have anticipated. The story feels at once like one that is singular and original, but also universal. Every element of the film was considered and realized with only the greatest of intelligence, passion, and diligence, and still the writing and the acting register as sound, healthy anchors for everything that the feature wants and tries to be, and handily succeeds at. I'd be lying if I said I weren't impressed - for my money, 'Heartland' is a terrific, rather exceptional, and peculiarly fresh slice of LGBTQ cinema that nails critical emotional beats with surprising deftness. I can only give this my most enthusiastic recommendation; this is well worth watching wherever you have the opportunity!