Who we are as individuals, and what we become, is nothing more than who we have always been and will always be; but within the psyche there are paths that lead to a myriad number of possible destinations, and often the choice of which to take is not ours. More often than not, circumstances-- some beyond our control, some not-- will determine which road we follow, and in our youth, even a single, significant emotional experience can dictate who we become and where life will take us. A shadow cast over one in adolescence is not easily dispelled, and all the beauty of life to that person may forever be elusive or clouded, hidden by a dark secret of the heart which prevents that person from ever being whole or capable of stepping out into the light of day. `Things Behind the Sun,' written by Allison Anders and Kurt Voss, and directed by Anders, is an examination of the causes and effects of journey's taken that are not of our own choosing, but which nevertheless define who we are. It explores the complexities of human nature and the inescapable dictates of fate that make each of us unique; it's a study of survival and need, and the struggle of attempting to extirpate oneself from the darkness while reaching out to the light-- a light perhaps never offered and ever denied.
Owen (Gabriel Mann), a Los Angeles based writer for a magazine that covers the rock scene, becomes involved with the story of a young singer in Florida, Sherry (Kim Dickens), who has just been arrested for being drunk and disorderly. Sherry's band has risen beyond garage status or playing local Legion halls, but 120 people in the audience at a gig in some small dive they still consider good. They've been getting some notice, though, with a song gaining popularity on college campuses in the area, and Owen has a personal interest, also: They are old childhood friends. So Owen heads to Florida for the story. But he knows even before he leaves that what he's after isn't really the story, but a catharsis-- for Sherry as well as himself-- to relieve the pall cast over their lives by a haunting incident that occurred when they were only fourteen-years-old, and which Owen hopes may alter Sherry's self-destructive lifestyle. It's a journey through which he will seek to change the course determined for them so long ago by forces beyond their control. He has no idea where it will lead them, but he knows he has to try; try to repair damage that just may be irreparable.
Extraordinarily crafted and delivered by Allison Anders, this film is intensely personal and affecting. The way it was written, filmed, acted-- everything-- has an honesty that rings true every single moment. And the way it is presented-- the pace, timing, the gradual way the information is revealed-- is impeccable. With this film Anders bares her soul, as well as that of her characters, to tell the story. She takes you into those dark corners we've all known in one way or another, those sometimes so brief-within-a-whole-lifetime, yet defining moments we'd probably just as soon forget, but can't, and exposes them for what they are: The appointed time in which Evil insinuated itself into our hearts and pierced it so deeply that the bleeding will never stop. That moment in which the soul is branded and scarred and penetrated so thoroughly that the rest of your life is spent treating the wound. It's a rare film that goes far beyond being mere entertainment, and may actually serve as a catharsis for someone who has experienced the darkness it so succinctly illuminates. And, in the same vein as `You Can Count On Me' or `Sling Blade,' it says so much for the importance of independent film and the truth that can be found outside the dominant studio system.
There are some remarkable performances in this film, beginning with Kim Dickens as Sherry, whose deep, unpretentious and detailed presentation of her character is as good as it gets. It's dismaying that a performance and a film like this can be lost so easily amid the Hollywood shuffle. And under closer scrutiny, the work Dickens does here gets even better. There's not a single moment when she is on screen that is false; not a blink of her eye nor a nod of her head. Everything she does is honest, and it makes Sherry not only believable, but very real and very human. What she does here is not only entirely effective, but pure in every sense. And like with Bjork in `Dancer In the Dark,' you have to question the absence of an Oscar nomination for it. Another dark corner over which we have no control.
Gabriel Mann (very reminiscent of a young James Spader here) gives an excellent performance, as well, and develops his character with subtle precision. Like Dickens, he comes across in such an unaffected manner that it really brings his character to life. And it's one of the things that makes this film work so well-- the fact that the characters are so very real and true-to-life. Moreover, it demonstrates what a talented actor can do in the hands of a gifted director.
Not to be outdone by his costars, Don Cheadle turns in the kind of performance we've come to expect from him, as Chuck, the manager of Sherry's band. He's a talented actor and a definite asset to this film. And it must be noted that Eric Stoltz, with limited screen time, turns in what is arguably the best performance of his career, as Owen's brother, Dan.
`Things Behind the Sun' is a triumph for Anders, who not only has exemplary insights into human nature, but knows how to transfer them to the screen. This is a film that gradually draws you in and involves you emotionally; and ultimately, it provides a genuinely memorable experience. 10/10.
Owen (Gabriel Mann), a Los Angeles based writer for a magazine that covers the rock scene, becomes involved with the story of a young singer in Florida, Sherry (Kim Dickens), who has just been arrested for being drunk and disorderly. Sherry's band has risen beyond garage status or playing local Legion halls, but 120 people in the audience at a gig in some small dive they still consider good. They've been getting some notice, though, with a song gaining popularity on college campuses in the area, and Owen has a personal interest, also: They are old childhood friends. So Owen heads to Florida for the story. But he knows even before he leaves that what he's after isn't really the story, but a catharsis-- for Sherry as well as himself-- to relieve the pall cast over their lives by a haunting incident that occurred when they were only fourteen-years-old, and which Owen hopes may alter Sherry's self-destructive lifestyle. It's a journey through which he will seek to change the course determined for them so long ago by forces beyond their control. He has no idea where it will lead them, but he knows he has to try; try to repair damage that just may be irreparable.
Extraordinarily crafted and delivered by Allison Anders, this film is intensely personal and affecting. The way it was written, filmed, acted-- everything-- has an honesty that rings true every single moment. And the way it is presented-- the pace, timing, the gradual way the information is revealed-- is impeccable. With this film Anders bares her soul, as well as that of her characters, to tell the story. She takes you into those dark corners we've all known in one way or another, those sometimes so brief-within-a-whole-lifetime, yet defining moments we'd probably just as soon forget, but can't, and exposes them for what they are: The appointed time in which Evil insinuated itself into our hearts and pierced it so deeply that the bleeding will never stop. That moment in which the soul is branded and scarred and penetrated so thoroughly that the rest of your life is spent treating the wound. It's a rare film that goes far beyond being mere entertainment, and may actually serve as a catharsis for someone who has experienced the darkness it so succinctly illuminates. And, in the same vein as `You Can Count On Me' or `Sling Blade,' it says so much for the importance of independent film and the truth that can be found outside the dominant studio system.
There are some remarkable performances in this film, beginning with Kim Dickens as Sherry, whose deep, unpretentious and detailed presentation of her character is as good as it gets. It's dismaying that a performance and a film like this can be lost so easily amid the Hollywood shuffle. And under closer scrutiny, the work Dickens does here gets even better. There's not a single moment when she is on screen that is false; not a blink of her eye nor a nod of her head. Everything she does is honest, and it makes Sherry not only believable, but very real and very human. What she does here is not only entirely effective, but pure in every sense. And like with Bjork in `Dancer In the Dark,' you have to question the absence of an Oscar nomination for it. Another dark corner over which we have no control.
Gabriel Mann (very reminiscent of a young James Spader here) gives an excellent performance, as well, and develops his character with subtle precision. Like Dickens, he comes across in such an unaffected manner that it really brings his character to life. And it's one of the things that makes this film work so well-- the fact that the characters are so very real and true-to-life. Moreover, it demonstrates what a talented actor can do in the hands of a gifted director.
Not to be outdone by his costars, Don Cheadle turns in the kind of performance we've come to expect from him, as Chuck, the manager of Sherry's band. He's a talented actor and a definite asset to this film. And it must be noted that Eric Stoltz, with limited screen time, turns in what is arguably the best performance of his career, as Owen's brother, Dan.
`Things Behind the Sun' is a triumph for Anders, who not only has exemplary insights into human nature, but knows how to transfer them to the screen. This is a film that gradually draws you in and involves you emotionally; and ultimately, it provides a genuinely memorable experience. 10/10.