A traumatized veteran, unafraid of violence, tracks down missing girls for a living. When a job spins out of control, Joe's nightmares overtake him as a conspiracy is uncovered leading to what may be his death trip or his awakening.
Two upper-class teenage girls in suburban Connecticut rekindle their unlikely friendship after years of growing apart. Together, they hatch a plan to solve both of their problems-no matter what the cost.
Set over one summer, the film follows precocious six-year-old Moonee as she courts mischief and adventure with her ragtag playmates and bonds with her rebellious but caring mother, all while living in the shadows of Walt Disney World.
Jong-su bumps into a girl who used to live in the same neighborhood as him, who asks him to look after her cat while on a trip to Africa. When back, she introduces Ben, a mysterious guy she met there, who confesses his secret hobby.
Will (Ben Foster) and his teenage daughter, Tom (Thomasin Harcourt McKenzie), have lived off the grid for years in the forests of Portland, Oregon. When their idyllic life is shattered, both are put into social services. After clashing with their new surroundings, Will and Tom set off on a harrowing journey back to their wild homeland. The film is directed by Debra Granik from a script adapted by Granik and Anne Rosellini.Written by
The newspaper clipping that Tom finds in her father's "important papers" bag was not created as a prop for this movie; it was a real news article titled "A Unit Stalked by Suicide, Trying to Save Itself" by Dave Phillips, which was one of the above-the-fold front-page articles in the New York Times on Sunday, September 20, 2015. The article was about a single Marine unit (the Second Battalion, Seventh Marine Regiment, aka the 2/7) that after returning from deployment in Afghanistan experienced a very high rate of suicide among its veterans. It is never explained in the movie whether the glimpse of this article is meant to imply that Will actually was a member of the 2/7, or if he just kept the article because it related to his PSTD and related medical situation. See more »
The chessboard is set up incorrectly. Chessboards should have a white square at the bottom right (from each player's perspective). See more »
I think it might be easier on us if we try to adapt.
We're in their clothes. We're in their house. We're eating their food. We're doing their work. We have adapted.
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Angel of Mercy
Written by Eric Caboor
Performed by David Kauffman and Eric Caboor
Courtesy of Light in the Attic Records See more »
Leave No Trace poignantly flourishes in depicting a dynamically engrossing family bond.
Indie dramas just keep getting better as the years go by. The freedom to be experimental whilst conveying a captivating story makes for a vastly enthralling cinematic experience than the average Hollywood drama. It's no different here, with director Granik perfectly balancing emotional heft with relentless drama. A father and his young daughter live in isolation within a shrouded urban forest, where one mistake leads them into being found by the local authorities. The eloquence and minimalism in Granik's screenplay allows the story to be told visually. The peaceful environment and rural American culture juxtapose the bustling highways of urban society. Yet they complement each other to create an ecosystem for humanity. The same is applied to this relationship. The father, fearful of being discovered and conforming to the aristocracy of modern civilisation, contrasts with his daughter who yearns for environmental stability. After experiencing a glimpse of normality, she envies them. However, it's the bond between them that truly captivated me. They never argue. They never bicker. They understand one another. Mistakes are forgiven, opportunities are seized. It was honestly beautiful to watch. Foster (who is becoming rather commendable with his work) and McKenzie were sensational together, feeding emotions through just their eyes. Granik utilises plenty of horizonal techniques to illustrate these two characters amongst the overwhelmingly luscious foliage. McDonough's cinematography was gorgeous, bountiful of green filters and natural lighting. My only gripe is the lack of backstory, particularly with the mother, which would've elevated the emotional response for the story's conclusion. But what I really appreciate is the unobtrusive approach to what could've been a sensationalistic plot, and the lack of pretentiousness further cements Granik as a mature director who really should be directing more films. A near perfect drama with outstanding performances that deserves your undivided attention.
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