On Ava DuVernay’s beautifully intimate portrait of grief and uncertainty in the wake of a loved one’s death.
“You know, part of me really wants to get out of here… and part of me doesn’t want to go.”
What a fascinating directorial debut from Ava DuVernay. We get to know a grieving woman through a variety of short and sweet interactions with a revolving door of faces, flitting in and out of her life over the course of one long day. From relatives, to lovers, to satellite service workers, to removal men, each conversation brings an entirely new dynamic to the film, while adding another layer of depth to our protagonist. Once the ninety minutes are up, we feel like we’ve known her her entire life. It’s all so intimate. So affecting.
This probably would have worked nicely as a play, but DuVernay’s fine direction adds enough of a cinematic feel to see it through. As with most first features, it’s a little rough around the edges, and often carries the look of a TV movie – but there’s so much to like about the dialogue, story & performances here, it hardly even matters.
I sincerely hope A Wrinkle In Time is a commercial hit for Disney – because if it is, we could be looking at Ava DuVernay as Lucasfilm’s next Star Wars director pick. And that sounds pretty fucking awesome to me.