Nowhere To Go Josh Hyslop Meaning
The American filmmaker Kelly Reichardt has earned a reputation as a meticulous observer of her surroundings in recent years. In “Night Moves” she follows three eco-activists and is able to surprise a seemingly prepared audience.
PD: The first half of “Night Moves” reminded me very much of this book. I wonder if Kelly Reichardt and Jonathan Raymond borrowed a lot from the script.
YP: About eco-terrorism, as well as in "Night Moves"?
PD: For the sake of simplicity, here are a few sentences from the Wikipedia page.
"Easily Abbey's most famous fiction work, the novel concerns the use of sabotage to protest environmentally damaging activities in the American Southwest, and was so influential that the term" monkeywrench "has come to mean, besides sabotage and damage to machines, any sabotage, activism, law-making, or law-breaking to preserve wilderness, wild spaces and ecosystems. "
"Their greatest hatred is focused on the Glen Canyon Dam, a monolithic edifice of concrete that dams a beautiful, wild river, and which the monkeywrenchers seek to destroy."
YP: This is how you describe the content of "Night Moves". At least the first half of it.
PD: The overlaps are really very noticeable. In the second half, the film glides more into the spheres of the 1970s paranoia thriller. To my great surprise.
YP: And that's exactly when the filmmaker Reichardt makes a big leap. Anyone who knows her previous films cannot possibly count on them. And it paid off. “Night Moves” is her best film so far. The surprise effect is correspondingly great.
PD: The first half had lulled me a little too. She worked too hard for me with the characters she had already built in "Wendy & Lucy" or "Old Joy". It was very nice to see the nature photos from Oregon and then the preparations for the attack, but it was familiar terrain. Only the second half, in which she deals with the consequences of the attack, gives the film that special note.
YP: This time, too, it is about dropouts or seekers.
PD: It's also the second part in which the actors act really great. In the midst of their self-doubts and justifications, the three eco-terrorists are sliding more and more. Her search leads her into very dark corners of her psyche.
YP: Josh, Dena and Harmon, the characters, were also cast insanely well with Jesse Eisenberg, Dakota Fanning and Peter Sarsgaard.
PD: However, only Josh (Jesse Eisenberg) felt better elaborated.
YP: I think it's great that Reichardt can always work with stars like Eisenberg or Fanning despite his low budget.
PD: ... and Peter Sarsgaard, who obviously felt very comfortable in his role.
YP: Josh is also being followed more by the camera, it's okay that Dena and Harmon are more marginal characters.
I was also really surprised at how well Eisenberg fits this introverted figure. Most recently he acted anything but introverted in "Now You See Me".
PD: At the beginning of the film I was of the opinion that Eisenberg was subject to a case of "typecasting". It was too much of a character he'd portrayed so many times. As he got more and more paranoid, you could see how well he fits in here.
Also, the way he wrestles with himself while the need for such actions is discussed around him is great. The camera remains on him mercilessly.
YP: And there is always minimal play. Small gestures, tiny hints.
PD: In keeping with Reichardt's rather minimalist style. So far, only Michelle Williams has been such a perfect match for Reichardt's films.
YP: Of course, but “Night Moves” is about the blame catching up with you. And reactions are not inevitable. It develops authentically and comprehensibly.
PD: I also liked how Dena (Dakota Fanning) was panicking more and more. She was beautifully shown as a woman from a better family who was completely unaware of her actions. Which might never have participated had she known what could happen.
YP: What I also really liked that she put references to "Old Joy" as well as "Wendy & Lucy" in it. Here you can see in the first quarter of an hour that it is a Reichardt film.
PD: Clearly. On the other hand, the second half can be compared with "Meek’s Cutoff", because here it conquers the thriller structure for itself and in “Meek’s Cutoff” it worked through the structures of the Western and conquered it for itself.
YP: I first read about the term eco-thriller in a review of the film.
PD: I imagine I've read this term in connection with “Twelve Monkeys”.
YP: Similarly, but not necessarily to be compared with “Night Moves” is “The East”. In the former, the characters are in the foreground and in “The East” it is rather the effects of the deeds. Although I have to add that “Night Moves” is more about what an action like that makes a person. As what a person makes of such an action.
PD: I had that feeling too. The second half focuses on the effects of the attack, but to see how Josh, Dena and Harmon change.
It was a shame that Harmon was no longer to be seen. More was said about him than that he actively intervened in the action.
YP: What I don't understand, however, is why the three didn't talk about the risks. It seemed a little naive to me, or did I miss something. They didn't even consider the possibility of harming anyone.
PD: Only Dena seemed to be naive to the matter, while Harmon and Josh probably had this in the back of their minds. Finally, Dena said yes, that she was promised that no one would be harmed.
Whether and how naively they were fighting can be read from what happened after the attack. Before that, it's downright classic Reichardt cinema. Minimalistic, concise and with few explanations.
YP: Lots of room for the audience to decide what may and may not be relevant. I like Reichardt's films more and more. It takes us to places that always look the way they do, but then turn out to be something completely different.
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