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BEST PICTURE NOMINEE

LEAVE NO TRACE

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In Debra Granik's Leave No Trace, a war veteran and his teenage daughter live alone in the woods, generally isolated from society and on the move whenever they risk being discovered; both their adaptability to the wilderness and their placement into social services after being caught quickly set up a theme of humans as animals, not in any cold or pejorative sense but in a sense of creatures and their habitat, their nature, their structures and rituals. This is lightly underlined by the characters' constant proximity to and connection with actual animals (rabbits, bees) and enriched by the way every single person they meet is reasonable and compassionate and genuinely wants to help; yet what makes the movie's ultimate heartbreak so potent is precisely the fact that it's built on reason and necessity. Granik's distance is exactly right, the range of her subdued, unfussy, melodrama-free approach beautifully ilustrated by the performances of her leads: Ben Foster's is admirably withholding, fully respectful of the inner state of this PTSD-affected man in the way it refuses easy access or psychoanalysis, while Thomasin McKenzie's bridges the two worlds - the closed-off and the one full of possibility - that her character winds up between; hers is a revelatory work in one of the handful of 2018 American indies that deserved to be far more widely seen and celebrated.

- @Jake Gittes

 

 

 

Enjoyed this a lot. It's a very emotional film with two excellent performances from the leads. I wasn't expecting the second half to be what it was, but that's not necessarily a bad thing, especially as the movie sits in my mind. Probably my favorite movie of the year so far.

- @WrathOfHan

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2 minutes ago, Spagspiria said:

BEST PICTURE NOMINEE

LEAVE NO TRACE

Image result for leave no trace

 

 

In Debra Granik's Leave No Trace, a war veteran and his teenage daughter live alone in the woods, generally isolated from society and on the move whenever they risk being discovered; both their adaptability to the wilderness and their placement into social services after being caught quickly set up a theme of humans as animals, not in any cold or pejorative sense but in a sense of creatures and their habitat, their nature, their structures and rituals. This is lightly underlined by the characters' constant proximity to and connection with actual animals (rabbits, bees) and enriched by the way every single person they meet is reasonable and compassionate and genuinely wants to help; yet what makes the movie's ultimate heartbreak so potent is precisely the fact that it's built on reason and necessity. Granik's distance is exactly right, the range of her subdued, unfussy, melodrama-free approach beautifully ilustrated by the performances of her leads: Ben Foster's is admirably withholding, fully respectful of the inner state of this PTSD-affected man in the way it refuses easy access or psychoanalysis, while Thomasin McKenzie's bridges the two worlds - the closed-off and the one full of possibility - that her character winds up between; hers is a revelatory work in one of the handful of 2018 American indies that deserved to be far more widely seen and celebrated.

- @Jake Gittes

 

 

 

Enjoyed this a lot. It's a very emotional film with two excellent performances from the leads. I wasn't expecting the second half to be what it was, but that's not necessarily a bad thing, especially as the movie sits in my mind. Probably my favorite movie of the year so far.

- @WrathOfHan

 

wrong thread

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