Since the start of the mumblecore movement in the 2022 years, independent films have been filled with stories of young people (often Caucasian) people in a state of developmental arrest. For these individuals, adulthood is a playground marked by risk-taking and self-righteousness about the status of their romantic relationships. Through alternate lighting and naturalistic camera movement, these films attempt to mimic the rawness of real life, adding weight to the mundane. While the movement has passed, the stories continue to flourish at the festival.
In Lisa Steen’s feature film directorial debut Late Bloom , millennial angst once again becomes a desperate The hub of a personal, minimalist story. Karen Gillan
plays Louise, an aimless and frustrated musician are working through a painful breakup. When she finds out her ex-boyfriend has left her, Louise tries to drunkenly climb into his apartment through the window. She fell and hurt her hip and was forced to start physical therapy with a group of older women. This puts her quarter-life crisis in perspective, forcing Louise to reevaluate her sombre, nihilistic outlook. Late Bloomer
Bottom Line Too detached to cut very deep.
Venue:
SXSW
Film Festival( Narrative Topic Contest) Cast: Karen Gillan, Margaret Sophie Stein, Jermaine Fowler, Kevin Nee Len, Talia Balsam Director: Lisa Steen
author:
Anna Greenfield
1 hour 20 minutes
Louise soon finds herself in a relationship with Antonina (Margaret Sophie) Stein, Antonina, a curmudgeonly Polish woman who doesn’t speak a word of English. Despite the language barrier, the two women’s affection runs deep. Louise is protective of Antonina, seemingly believing she knows what is best for older women, even though she knows little about how to take care of herself. Her roommate (Jermaine Fowler) encourages Louise to use this recovery time as an excuse to heal her soul. But like her old friend, Louise is too stubborn to take any advice.
Although the characters’ friendships are unique, Steen’s director doesn’t show emotion in their scenes. It’s an intimate story, but the camera feels oddly distant from the emotional core of each scene. There is a sense of alienation in the film that overshadows the acting and mutes the dialogue. Screenwriter Anne Greenfield tries to juggle several heavy emotional ideas with a minimum of melodrama. The film’s supporting cast — including Kevin Nealon and Talia Balsam, who play Lois’ parents — do their best, and the script seems to actively avoid its own Dramatically ambiguous.
Late Bloomer does have some nice tricks – the poolside moments with the older women are full of humor and personality, hinting at something more A powerful ensemble narrative hides beneath the surface. The scenes with Louise and her roommate don’t work well, lacking the specificity needed to make their banter work. Fowler often played underwriting supporting roles, underutilizing his comedic potential. Stein is better as Antonina, expressive enough to add layers to a somewhat difficult role. However, there is something unreal about Louise and Antonina’s friendship. All the pieces are there, but the late bloomer ultimately fails to sell the film’s central relationship.
Her previous forays into indie films such as Double Identity and her directorial debut the party has only just begun, and Gillan has perfected a disaffected Daria-like character. Here she is at her most opaque, her motivations and choices never quite giving way to a deeper character. Only for a split second do we get a glimpse of who Louise was before this crossroads in her life: a moving scene of her singing a song to her mother while she strums her acoustic guitar. Louise, eyes wide and heart open, serenaded her ailing mother in the visiting area of her nursing facility. Movies like this are made for moments like this.
Full credits 32
Venue: SXSW Film Festival (Narrative Feature Competition)
Production company: Park Pictures, Extremely Upbeat Movies, Good Gravy Movies, The World of HA Productions
) Cast: Karen Gillan, Margaret Sophie Stein, Jermaine Fowler, Kay Directed by Vin Nealon, Talia Balsam
: Lisa Sting
Screenwriter: Anna Greenfield Producers: Alessandra Barreto, Performed by Taylor Feltner, Sam Bisby
Producers: Jackie Kelman Bisbee, Lance Acord, Cody Rider, Wendy Neu, Franklin Carlson, Robina Riccitiero, Emma Pompetti, Tegan Acton, Halle A. Delman, Ivy Herman, David Bernon, Paul Bernon, Sam Slater, Mark Iseris, Shiyong Wu, Anthony O, Greg Beauchamp, Carter Collins
Co-producers: Donna Gruneich, Kevin Gruneich, Philip W. Chung , Anna Greenfield, Phil Keefe, Danielle Massie, Emily McCann Lesser
Photography Direction: John de Menil
Editing: Anisha Acharya
Production designer: James Bartolcomposer : Osei Essed
Costume Designer: Sarah Maiorino
Casting: Ed Velasco 1 hour32 minute THR Communications 1235079513
Sign up to get THR News delivered directly to your inbox daily
32 SUBSCRIBE register
SXSW
author:
Anna Greenfield
1 hour 20 minutes
Louise soon finds herself in a relationship with Antonina (Margaret Sophie) Stein, Antonina, a curmudgeonly Polish woman who doesn’t speak a word of English. Despite the language barrier, the two women’s affection runs deep. Louise is protective of Antonina, seemingly believing she knows what is best for older women, even though she knows little about how to take care of herself. Her roommate (Jermaine Fowler) encourages Louise to use this recovery time as an excuse to heal her soul. But like her old friend, Louise is too stubborn to take any advice.
Although the characters’ friendships are unique, Steen’s director doesn’t show emotion in their scenes. It’s an intimate story, but the camera feels oddly distant from the emotional core of each scene. There is a sense of alienation in the film that overshadows the acting and mutes the dialogue. Screenwriter Anne Greenfield tries to juggle several heavy emotional ideas with a minimum of melodrama. The film’s supporting cast — including Kevin Nealon and Talia Balsam, who play Lois’ parents — do their best, and the script seems to actively avoid its own Dramatically ambiguous.
Late Bloomer does have some nice tricks – the poolside moments with the older women are full of humor and personality, hinting at something more A powerful ensemble narrative hides beneath the surface. The scenes with Louise and her roommate don’t work well, lacking the specificity needed to make their banter work. Fowler often played underwriting supporting roles, underutilizing his comedic potential. Stein is better as Antonina, expressive enough to add layers to a somewhat difficult role. However, there is something unreal about Louise and Antonina’s friendship. All the pieces are there, but the late bloomer ultimately fails to sell the film’s central relationship.
Her previous forays into indie films such as Double Identity and her directorial debut the party has only just begun, and Gillan has perfected a disaffected Daria-like character. Here she is at her most opaque, her motivations and choices never quite giving way to a deeper character. Only for a split second do we get a glimpse of who Louise was before this crossroads in her life: a moving scene of her singing a song to her mother while she strums her acoustic guitar. Louise, eyes wide and heart open, serenaded her ailing mother in the visiting area of her nursing facility. Movies like this are made for moments like this.
Full credits 32
Venue: SXSW Film Festival (Narrative Feature Competition)
Production company: Park Pictures, Extremely Upbeat Movies, Good Gravy Movies, The World of HA Productions
) Cast: Karen Gillan, Margaret Sophie Stein, Jermaine Fowler, Kay Directed by Vin Nealon, Talia Balsam
: Lisa Sting
Screenwriter: Anna Greenfield Producers: Alessandra Barreto, Performed by Taylor Feltner, Sam Bisby
Producers: Jackie Kelman Bisbee, Lance Acord, Cody Rider, Wendy Neu, Franklin Carlson, Robina Riccitiero, Emma Pompetti, Tegan Acton, Halle A. Delman, Ivy Herman, David Bernon, Paul Bernon, Sam Slater, Mark Iseris, Shiyong Wu, Anthony O, Greg Beauchamp, Carter Collins
Co-producers: Donna Gruneich, Kevin Gruneich, Philip W. Chung , Anna Greenfield, Phil Keefe, Danielle Massie, Emily McCann Lesser
Photography Direction: John de Menil
Editing: Anisha Acharya
Production designer: James Bartolcomposer : Osei Essed
Costume Designer: Sarah Maiorino
Casting: Ed Velasco 1 hour32 minute THR Communications 1235079513
Sign up to get THR News delivered directly to your inbox daily
32 SUBSCRIBE register
) Cast: Karen Gillan, Margaret Sophie Stein, Jermaine Fowler, Kay Directed by Vin Nealon, Talia Balsam
: Lisa Sting
Screenwriter: Anna Greenfield Producers: Alessandra Barreto, Performed by Taylor Feltner, Sam Bisby
Producers: Jackie Kelman Bisbee, Lance Acord, Cody Rider, Wendy Neu, Franklin Carlson, Robina Riccitiero, Emma Pompetti, Tegan Acton, Halle A. Delman, Ivy Herman, David Bernon, Paul Bernon, Sam Slater, Mark Iseris, Shiyong Wu, Anthony O, Greg Beauchamp, Carter Collins
Co-producers: Donna Gruneich, Kevin Gruneich, Philip W. Chung , Anna Greenfield, Phil Keefe, Danielle Massie, Emily McCann Lesser
Photography Direction: John de Menil
Editing: Anisha Acharya
Production designer: James Bartolcomposer : Osei Essed
Costume Designer: Sarah Maiorino
Casting: Ed Velasco 1 hour32 minute THR Communications 1235079513
Sign up to get THR News delivered directly to your inbox daily
32 SUBSCRIBE register
