ThereThere Review: Scaled-Back Indie Is A Great Film-As-Art Primer
For those used to approaching movies as entertainment and wanting to branch out into engaging with them as works of art, Andrew Bujalski's There There is not a bad place to start. The film is as stripped back as it gets, structured as a series of two-person scenes in single locations and very little else provided to distract from them.
SCREENRANT VIDEO OF THE DAY Perhaps the earliest questions it sparks, those that light the fire of an inquisitive mindset, concern acting. All of its scenes explore critical moments in different kinds of relationships as they are mapped out in real time, but the first is also one of its strongest, jumping in with Lili Taylor and Lennie James' characters the morning after their first night together.
But outside their individual merits, the film's structure also asks viewers to consider how these stories are connected. This can be narratively, as a few threads and characters overlap to form a web of unwittingly interconnected lives, or thematically, as the parallels in these two-handed engagements become clear through repetition.
Of course, in cinema, there is no connectivity without editing, and here the musical interludes come into play. In the film's very first moments and between each scene, Bujalski returns to the same musician, Jon Natchez, who plays a series of different instruments, ranging from bass clarinet to mandolin to a glass of water.
Those hoping for a clear answer will have to be content with whatever they come up with on their own, because, as before, the movie is more invested in the questions being asked. If moved enough to do a little research after the credits roll, however, viewers will find their inquisitiveness rewarded with some fascinating behind-the-scenes insights.
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