Wander Darkly

Married couple Adrienne (Sienna Miller) and Matteo (Diego Luna) has a car accident. She seems to be dead as she exists in purgatory living out one memory after another.

The first half struggles to find a narrative drive. It needs a mystery, a goal, or a point to the story. In a way, it's stuck in purgatory like the protagonist. There is a mystery to be had if the film doesn't start with her in a morgue drawer. The first half could be her struggling to figure out if she's dead. The second half does find a couple of points and it gets interesting. All in all, there is some fine acting and this is a fine small indie.

I would have rated this at a 5 but give it a 7 as the director actually lived the idea in the plot (director's commentary) and so has first hand knowledge. That fact always gives it a nudge upwards for me as there is truth in the story and not just there for entertainment. Sometimes truth in the story is not compatible with better pacing in a film, but for me reality wins out every time. If it starts to drag a bit, keep at it as the ending is worth the wait.

It is a very different treatment of a familiar theme and worth seeing just for the fine performances of Miller and Luna. Difficult to follow at first viewing so, like Memento, would be worth seeing at least twice.

Beautiful cinematography and excellent script make this a very under-rated film imo.

Greetings again from the darkness. An ambitious filmmaker by nature takes risks that other filmmakers don't, sometimes to the detriment of their own success. However, for those of us who maintain a crazy pace of movie watching, we tend to relish those who find a way to try something different - turn a familiar story into one we might not have seen before. So hats off to writer-director Tara Miele (THE LAKE EFFECT, 2010) for jolting the frequently used flashback effect and making it into an interactive experience.

Adrienne (Sienna Miller) and Matteo (Diego Luna) are a normal couple going through the kind of rough patch that many couples will relate to. They have chosen to not get married, yet they have a newborn baby and recently purchased a home (despite job situations that don't seem to add up). The pressures of adulting have resulted in frustrations and distrust to the point that Adrienne questions if the relationship should even continue. Their solution is scheduling "date nights", and the one we see is a date night gone bad ... and then worse.

What follows is Adrienne and Matteo on a surreal trek through the hazy memories of their relationship via moments in time that play like foggy dreams. We see good moments and bad, and the two hash out what they really thinking at the time - all while Adrienne tries to make sense of her new situation. There are some similarities here to Michel Gondry's excellent ETERNAL SUNSHINE OF THE SPOTLESS MIND (2004), but at its core, this is a heartfelt examination of trauma, love, memories, and grief as they relate and impact a relationship.

Beth Grant provides support work as Adrienne's mother, but it's Sienna Miller who delivers what may be a career best performance. She has always been a fine actress, but this may be the widest range of emotions she's ever had to convey. The dialogue may be a bit sketchy at times, but we recognize every portion of this flawed relationship. Watching a couple re-live actual past situations and debate on what was said or what was meant, is a history lesson that cuts deeply. A clip from NIGHT OF THE LIVING DEAD is purposeful in its inclusion, but I won't disclose anything further in regards to the nature of these characters and what they go through. I'll only say that filmmaker Miele (a Grand Jury award winner at Sundance) does really nice work in showing how physical trauma and emotional trauma so often go hand-in-hand. In select theaters and On Demand December 11, 2020

I hadn't cried in a long time. There's really not a lot to say about this film that the watcher shouldn't experience for themselves and that hasn't been said my past reviewers.