1. The Other Side of the Wind— After sitting unfinished for decades, Orson Welles has a new film. The Other Side of the Wind, a bleak and bleakly funny dig at the movie industry, centers on Jake Hannaford (John Huston), a drunken, disillusioned movie director. His birthday celebration becomes an excuse for all manner of people to gather and talk shit about him while enjoying his latest movie (also called The Other Side of the Wind). Shot like a mockumentary from a variety of perspectives of people at the party and interspersed with stunning footage of Hannaford’s movie-within-a-movie, The Other Side of the Wind is as disorienting as it is difficult to shake. Welles’ last completed film is a bitter vision of a rotting, death-stalked Hollywood, and a masterpiece.
2. Let the Sunshine In— Claire Denis’ Let the Sunshine In moves to the beat of Juliette Binoche. The two French titans prove a revelatory pairing, matching Denis’ inimitable rendering of bodies searching for connection with Binoche’s conjuring of simultaneous conflicting feelings. In telling the story of Isabelle, a painter stuck dancing between romance and disappointment, Denis structures the movie more around the character’s emotional whims than along a traditional narrative. Though her encounters with men end mostly with disappointment, Isabelle’s sudden eruptions of passion, including during a show-stopping, Etta James-backed dance sequence, suggest that her endless cycle of pursuits is not in vain.
1. Juliette Binoche- Let the Sunshine In- The key to Juliette Binoche’s performance as Isabelle in Let the Sunshine In is in the way she and director Claire Denis show us the character searching; searching for love among a group of less than stellar contenders, searching for meaning in the space between those affairs, searching for the right emotion in any given moment. Several sometimes wash over Binoche’s face within the span of just seconds. That her performance seems so natural amid such a rapidly shifting emotional landscape is a testament to her brilliance.
2. Helena Howard- Madeline’s Madeline- Easily the year’s great breakout performance, Helena Howard is front and center in Josephine Decker’s swirling fever dream of a movie. Howard and Decker thrust viewers into the head of Madeline, a teenager battling mental illness who is also part of an experimental theater troupe. Howard’s rapid shifts in mood within scenes is astonishing, and much of the movie’s energy is built around the risk of her throwing any given moment into chaos.
Support the Girls — Director Andrew Bujalski finds the perfect encapsulation of his vision of modern American capitalism in Double Whammies, the Hooters knockoff sports bar where much of his latest film, Support the Girls, takes place. The restaurant operates on bizarrely specific codes built on the unspoken transaction between its jean shorts and tight t-shirt wearing female wait staff and its horny (mostly) male clientele. Bujalski and his ensemble are astute observers of workplace behavior, notably the glimpses of personality that bleed through the faces the characters try to wear at work. Professionalism at Double Whammies means a constant smile, and a tiptoe up to a sexual boundary with customers that becomes awkward and uncomfortable very quickly.
That’s where Lisa (Regina Hall) comes in. Lisa is a compassionate, intuitive general manager, tasked with passing down the vision of the restaurant owner to the staff while also mediating conflicts between them and the sometimes insulting, sometimes worse customers. One of the many pleasures of Support the Girls is in how Bujalski and Hall show the toll patrolling that managerial tightrope takes on Lisa. Much of the movie is focused on a single day, following her on a series of menial tasks that she nevertheless executes with great purpose. Her job is a lonely one; she has to be friendly but not too friendly, stern but not too stern with her staff and customers. The exhaustion seems to be catching up to her, as evidenced by the way it washes over Hall’s face before she snaps out of it and onto the next task. Double Whammies doesn’t deserve someone like Lisa; in fact Bujalski suggests the restaurant and its customers don’t deserve many of its employees, either. Support the Girls finds its humor and quite a bit of emotional resonance in the matter-of-fact exploration of the everyday disconnect between how the employees interact with each other, and how they are trained to interact with customers. Grade: B+