Wendy & Lucy
Proving why she is one of the most highly-regarded auteurs of current cinema, Kelly Reichardt’s (OLD JOY) subtle storytelling technique uses a formal minimalist style to weave together a unique emotional and political road film.
Wendy Carroll (Michelle Williams) is driving to Ketchikan, Alaska, in hopes of a summer of lucrative work at the Northwestern Fish cannery, and the start of a new life with her dog, Lucy. When her car breaks down in Oregon, however, the thin fabric of her financial situation comes apart, and she confronts a series of increasingly dire economic decisions, with far-ranging repercussions for herself and Lucy. WENDY AND LUCY addresses issues of sympathy and generosity at the edges of American life, revealing the limits and depths of people’s duty to each other in tough times.
Based on the short story “TRAIN CHOIR” by Jon Raymond.
“As good as Williams is, the true star of Wendy and Lucy is Reichardt’s exquisite filmmaking. Williams is a big piece of the celluloid puzzle but she isn’t the puzzle itself. The movie is less about Wendy than about the environment surrounding her, how outside forces collide with human flesh, bringing us to a deeper understanding of ourselves.” – Lauren Wissot, The House Next Door
“It’s a small gem that has all the Americana of a John Ford movie yet recalls the naturalism of VAGABOND and even UMBERTO D. And like those movies it’s about people literally living hand to mouth, an existence where a gift of $6 (which occurs towards the end) is truly a sacrifice. Owing much to co-screenwriter Jon Raymond’s fiction, it unfolds like a perfectly constructed novella.” – Cine-File
“Reichardt is not as interested in the scenic beauty of the state as she is its purgatorial nature, stripping away its beauty in service of illuminating themes of poverty and loneliness. Wendy and Lucy is the most vivid example of the infinite journey and all that informs its construction, visually and thematically, in Reichardt’s cinema.” – Senses of Cinema
“Michelle Williams shows us crisis by crouching in a ball and merely pressing her palms into her forehead. This doesn’t sound like much, but given the woeful lack of inner life for young women in American movies, Williams’s single gesture of fatigue and partial defeat in “Wendy and Lucy” is momentous.” – Boston Globe
“Modest but cosmic… Trembling throughout on the verge of a tearful breakdown, but far too dignified to allow her character to choke up, Williams delivers a sensationally nuanced performance that, were it not so resolutely undramatic, would constitute an aria of stoical misery.” – Village Voice
- 3/29 | 7:00PM