I think I am beginning to understand and enter Egoyan’s world. As I presumed, his interest is in shifting narrative perspectives. “Where The Truth Lies” failed at this because the mystery was too simple. We knew about it from the start, so there was no construction, no building, the anticipation was empty. He filled that emptiness with some self-reference, some penetrating cinematic set-ups, and some actor’s acting. I liked it, but it failed to stick.
Now this here, is a sweet piece of cinema, and works a tad better than “Truth” for me. That’s because our camera lingers, enough for the film to become a moodpiece, a mediation, on the drama.
I usually get this feeling from Kar-Wai, but his style is excessive. This is subtle, this is for you and everyone I know.
There is no unsolved mystery here, no anticipation. Everything is laid out from the start. So this allows the story, the score, the acting, to gracefuly sink in. Everything works towards that notion of graceful movement.
Holm is appropriate. But our angel lifting us to heaven here is Polley. She is fantastic. Nobody broods as better.
Do yourself a favor.