ceciliarleopold I went into watching this movie with an open mind (because I usually hate hipster-esque indie films) and a craving for a good love story. I was fairly surprised, the movie doesn't feel too long, and it definitely wasn't boring.The problem I have with this is the queer baiting. Many shows and movies have done this, and then retreated under the "tHeY'rE jUsT fRiEnDs In A cOmPlEx ReLaTiOnShIp" umbrella. The main character is basically does a whole lot of nothing, and does not stand up for herself at all. When her friend leaves, she doesn't say a word and we're left in an incredibly awkward position, and only tuning in to see if they reunite later (which they do, and the outcome is extremely disappointing). We're left to ignore the strong romantic bond they had and sit and watch as the friend of our main character gets married, and we're supposed to be happy for her? The main character didn't really seemed moved when this happened, even though she was talking about how she wanted to have a relationship with her friend and that she loves her only a few moments before. All I have to say is, "Really??!!!".

FinneganBear It's not an exciting movie. It moves very slowly but it's only about an hour and 20 minutes long. There's no big payoff. But the writing, directing and acting are superb. It feels like you're watching a documentary. I wonder if most of the dialogue was ad libbed because it feels so natural. Riley Keough (as she did in "The Girlfriend Experience") has an incredible ability to convey all of her character's feelings without saying a word. There are many scenes when the camera focuses on her eyes, body language, wrinkle of her mouth, tone of her voice, body movements and expressions which move the scene along better than any dialogue could ever do.Jena Malone is also very good but despite her top billing, this is clearly Keough's movie. The movie will disappoint those who want action or suspense or a tidy ending. But for people who appreciate superb acting, writing and directing, the film is rewarding and Riley Keough is amazing.

Larry Silverstein I really liked this quiet yet powerful indie, which I thought was extremely well acted, written, and directed.Riley Keough and Jena Malone give superb performances in their lead roles here. Keough portrays Sarah who's in an unhappy marriage with a workaholic husband, while devoting herself to her young daughter Jessie. Malone plays Mindy who is Sarah's best friend but which eventually develops into a sexual relationship between the two. The chemistry between Sarah and Mindy works exceedingly well throughout the movie, despite the fact that they are conflicted about committing to each other, and thus continue in their daily lives without doing so. Even years later, when Mindy is set to be married the powerful erotic and spiritual connection between the two continues.Overall, this is one of those films that caught me by surprise and if you like quiet indies that really grab you and are filled with realism, then this one may very well be to your liking. To note, there are several raw and explicit conversational scenes for those that are concerned about this in a movie.Korean-American filmmaker So Yong Kim ably handles the direction here, and co-wrote the script with her husband Bradley Rust Gray.

freekyfridays As we celebrate the official 10th Anniversary of the mumblecore genre, it's exciting to see the only female filmmaker (to be included in the cinematic hipster scene) presenting a new film that equals or even surpasses her landmark debut IN BETWEEN DAYS (2006). This time, actress Riley Keough, who also stars in the Amy Seimetz's new Starz TV adaptation of THE GiRLFRiEND EXPERiENCE (which also premiered at Sundance this year), takes the emotional reigns with gusto as Sarah, a young mother who is completely caught off guard by the sudden reappearance of her college friend Mindy (Jena Malone).Much like So's overlooked FOR ELLEN (2010), which Paul Dano subtly referenced in Paolo Sorrentino's YOUTH (2015), the power in LOVESONG (named after The Cure's song) lies within the character's inability to express his true feelings. Independent Spirit Awards could be on the horizon for this bundle of true love, but more importantly, make sure you see this on the big screen so that you too can be transported into the whirling clouds during what has to be the most breathtaking sequence on a ferris wheel since Carol Reed's The THiRD MAN (1948).This is taken from my 2016 Sundance Film Festival wrap up.