Quem Procura Acha

I greatly enjoyed a couple of Joe Swanberg's previous films, 'Drinking buddies' and 'Happy Christmas.' In both those instances I think Swanberg's largely improvisational style of film-making served the pictures very well, as the loose framework of the narrative allowed the casts room to really explore the characters and the dynamics between them - and that was all they needed to be to succeed. That notion isn't one that necessarily works for every story concept, however, and I wonder if this isn't an example of a movie that isn't served as well by Swanberg's usual method. I still like 'Digging for fire,' but it's distinctly less engaging, and the viewing experience is one that comes and goes without making much of a mark.

The scene writing, such as it is, provides some fine scattered ideas. As the cast obviously had a substantial role in shaping what each scene ended up being, I think all are too be commended for finding a thought for each in turn that was meaningful, like sparse seeds that each could grow into something bigger. For that matter, I really like the cast, an ensemble filled with recognizable names, and all play their parts very well. Dan Romer's music is also lightly flavorful - nothing super remarkable, perhaps, but a nice touch layered on top of the proceedings. And from a technical standpoint, and concerning all those contributions from behind the scenes, I think this is pretty solid.

The issue I think have is that the very concept in this case portends a more specific, linear, crafted narrative, and Swanberg's improvisational approach is best suited for material in which characters have personal discoveries and the actors can probe the spaces in between it all. In 'Digging for fire, "the discovery of a bone and a gun send a husband and wife on separate adventures over the course of a weekend." That's not to say that the actors and characters can't also have like experiences in the manner Swanberg is known for, and sure enough that is definitely what we get in some measure amidst interesting story ideas. Still, this feature comes across as less focused, and with what feels like less leeway to do and be what they will, each moment comes off as a tad forced, or maybe contrived. All the great ideas that collectively form feel imbalanced and uncertain between standing individually as seeds of potential, and fitting together in the construction of a whole; between being organic manifestations and revelations of improvisation, and structured, deliberate machinations of a course laid in. The end result feels divided.

I repeat that I do actually like this, and I think in totality it's stronger and more enjoyable than not. I earnestly appreciate everything that Swanberg, Jake Johnson, the huge and admirable cast, and the crew poured into it. There's substantial skill and intelligence all throughout, and even kernels of outright brilliance. "Substance" is a key term, however, for this struggles with wanting to be both an assemblage of characters and actors in a singular space, discovering what emerges, and a carefully plotted delineation of separate rooms (scenes) that complete a definitive course of events. For all the value herein, it feels less meaningful. When all is said and done I think this is a title that's absolutely worth checking out if you're a big fan of someone involved, or just looking for something a bit more out of the ordinary. All the same, set aside the recognizable names and faces and 'Digging for fire' isn't necessarily anything special, and the recommendation it earns is a soft and casual one.

I hadn't seen any other Joe Swanberg as pre-requisites but if I knew the delights Digging For Fire had in store for me I would have certainly done my research. However, that would have been some undertaking. He's one of the decade's most productive filmmakers, directing (as well as pulling his weight in all the other roles) a dozen films this decade, half of which in 2011 alone. While he barely gets towards the 80 minute mark and so does Digging For Fire, his mumblecore roots are growing in ambition into something else, a more cinematic mumblecore perhaps. With an all-star cast, wonderful score and attractive widescreen photography, it reflects that Los Angeles glisten that allures so many. But even with this shine, it relishes in an uncontrolled improvisational style which is its blessing and its curse. On one hand it feels more natural, slice-of-life and the chemistry between the actors glows, but then there's a real lack of structure within each scene and the themes aren't fully fleshed out, instead letting the film be deliberately limited.

However, that's part of its charm for me. In a way, it feels like a mini-Short Cuts, but rather than Altman's high drama and ambiguity, it keeps it low-key and on-the-nose at points. Same vibrancy and endearing everyday sense of humour though. I was more pleased that a film about long-term monogamy and maturing didn't go the distance and I preferred it as a mere tease. Despite that scale on a short runtime, the editing keeps it very brisk, so brisk that even 20 minutes from the end it doesn't feel like its momentum is going anywhere. I can see that complaint from many but it's at least a good time with good people, especially when we have Jake Johnson, Brie Larson, Sam Rockwell and Rosemarie DeWitt riffing in front of us. I also found it weirdly specifically relatable, as I was also housesitting in L.A. and its themes articulated some of my deeper anxieties. It doesn't investigate them, but it pried them up in a way I could see them bare. Digging For Fire never soars but it's consistently absorbing and amusing. Here's hoping Joe Swanberg does have a film in his future where he runs at it with a Paul Thomas Anderson-esque tenacity. Bring this cast for the ride too.

8/10

Joe Swanberg is an actor who has become a seminal figure in the mumblecore movement of the past ten years. With films like "Happy Christmas" and "Drinking Buddies," he has a distinct voice among the indie set. His films often start with a simple outline for the plot, with some tragic thirtysomething characters, and then the dialogue is mostly improvised by the actors themselves. He often operates with a cast that he has worked before, such as Jake Johnson, Anna Kendrick, and Melanie Lynskey.

The film's plot is actually based on events in Jake Johnson's own life. The film follows a married couple, played by Johnson and Rosemarie DeWitt, who are having a hard time coexisting after the arrival of their son Jude. The wife, Lee, is a yoga teacher and one of her clients is letting the family stay at her vacation home for two weeks. The husband, Tim, digs around the property and finds a bone and an old gun. When Lee leaves to spend time with her family Tim invites a group of friends over, and though Lee has stated that he shouldn't dig anymore, he and his friends do anyway, and find quite a bit of evidence. The rest of the film sees both Tim and Lee try to find themselves in the company of others, as they attempt to piece together what they want from life.

I mean, that's the interpretation that I came up with in watching this film. Swanberg eschews traditional storytelling and rhythm in order to delve into the inner psyche of the subjects covered in his films. To do this he often focuses between two and four characters. In this film there are two central characters, but there's also a large ensemble cast who do nothing but throw off noise. Chris Messina shows up for a good ten seconds of screen time, and Anna Kendrick does her cameo in stride, but they don't add anything to the story besides showing that Tim isn't a hermit. Brie Larson probably has the largest role as a friend of a friend who helps Tim flirt with the idea of infidelity as she becomes his confidant. Sam Rockwell is an explosive if unneeded presence, as a friend who becomes jealous of the Tim and Brie's relationship.

Though there are some stark moments among the pretentious drivel, this is the worst example of the mumblecore movement I've seen yet. It reinforces the criticisms of most, as it's unfocused, monotonous, and slow. Johnson's usual charm is masked by a performance that weaves in between interesting and wayward. DeWitt isn't much better as the controlling and yet unfocused wife. If there had been a little more plot, a little more explanation, this would have been a much more interesting and deep film.

I don't really like Joe Swanberg and his improvisational style, but I keep watching his movies because of the casts he assembles (plus they're usually super short and hardly painful or anything). There are a ton of good people in Digging for Fire (also Orlando Bloom), perhaps too many. Several have little to do. The plot here is borderline nonsensical, and, like the other Swanberg films I've seen, it doesn't amount to much in the end. Jake Johnson and Rosemarie DeWitt star as a married couple with a 3-year old. They have been asked to housesit for one of DeWitt's rich clients (I think she's a yoga instructor). While exploring, Johnson finds a gun and a bone half buried in the backyard. DeWitt immediately forbids Johnson from informing the police (as any normal human being would), and a second argument about their son's preschool sends her to the home of her parents (Judith Light and Sam Elliot). Meanwhile, Johnson throws a party (where Sam Rockwell, Mike Birbiglia, Anna Kendrick, Chris Messina and Brie Larson show up). He and Larson are intrigued by the mystery and start digging further. Later on, DeWitt will run into Orlando Bloom and both members of the couple are sexually tempted. The whole body in the backyard thing is just symbolism, but the police really ought to have been called.

Tim (Jake Johnson), his wife Lee (Rosemarie DeWitt) and son spend some time in her client's hillside home. Tim finds a gun in the yard but the cops are uninterested. Lee and her son visit her parents while Tim is suppose to finish his work. Instead of work, his friends Phil (Mike Birbiglia), Ray (Sam Rockwell) and others come to hang out. The guys start digging up where Tim found the gun and they find a bone. They are joined by others to do drugs. Tim and Max (Brie Larson) find a shoe and they continue the dig the next day finding even more bones. Ben (Orlando Bloom) rescues Lee from a drunk at a bar.

Director Joe Swanberg continues to make his improvisational indies. The idea of digging and discovery does infuse the movie with an obsessive quality. It works well to keep the intensity up. It does mean that Lee has the lesser half of the movie. In fact, the movie would work better pointing the focus at Tim. There are lots of ways the dig could go. The cops could actually come. The owner could come home early. However Swanberg seems more interested in the couple's relationship.