Profound
loss, particularly death, effects every human being in a different
way. The theme has been explored in cinema countless times, with each
offering filtering the concepts of mortality and reconciliation through
different lenses. Indie ironclad Jennifer Reeder's latest film, Knives
and Skin approaches it from a fresh, wonderfully bizarre angle: An unusual coming
of age story for the modern world. Featuring a hilariously deadpan
script, multiple musical numbers, and some of the year's best cinematography,
this is a film that will simultaneously endear and repulse.
Teenager
Carolyn goes missing in an unnamed Midwestern town. What follows is a
strange odyssey of family, love, lust, betrayal, and forgiveness. It
would be easy to compare the film to Lynch's epic, Twin Peaks. In
the wake of his brilliant The Return it becomes simplistic to throw
anything with surreal imagery into the "Lynchian" pool, however, upon
reflection, it is clear that Reeder's vision is her own. While there are
nods to female directors strewn throughout, there is also an interesting parallel
to Paris Belongs to Us. In the wake of the unthinkable the
ensemble of characters, both adult and child are pondering not only their own
lives, but their futures as well with absolutely no sense of direction, only
urgency. At the end of another’s life it is natural to become preoccupied
by one's own future and yet, within Reeder's Midwestern limbo, no one knows
where they're going until Carolyn's tragedy forces them to confront themselves.
Ultimately this is a celebration, not only of life, but of diversity, sexual
freedom, and female empowerment; put to music by haunting vocal performances
that bookend each act of the film.
Marika
Engelhardt's performance as Carolyn's bereft mother is one of the year's best,
an unpredictable eye of the semiotic storm that rages within the heart of the
narrative. Her delivery is perfect and her character's ultimate evolution
as a parent is both soul crushing and life affirming. While there are stereotypes
at play for certain characters, other characters simply...exist, rather than
being presented in a subversive manner and this is one of the film's many
potent attributes. Interracial marriage and same sex couples aren't shown
as anything special or unusual, they simply are and this is a remarkable
choice. While some of the themes may come off as "woke" or too
heavy handed, it is an important concept to remember that this is a high school
story. There's a reason for the characters and setting and part of that
is the naivety of youth that blossoms into experienced adulthood and Reeder's
way of focusing on this is masterful.
Christopher
Rejano's neon bathed cinematography is the final piece. Coupled with Nick
Zinner's elusive score, one is instantly reminded of It Follows and
other menacing stories about the loss of innocence. Rejano's compositions
transcend these rote comparisons, allowing each of the principals to breath
within the candy colored illusions that fill each frame. The final result
is a weird film unlike any other. While its influences are clear, this is
a complete, unique vision from a clearly talented master of her craft on
display.
Coming
this Friday to Digital On Demand, Knives and Skin is one of the most
awkward and uncomfortable viewing experiences of the year. There's
strange sexual encounters, deviant predators, and toxic machismo everywhere in
Reeder's potboiling high school of lost souls. Beneath the darkness
however, is a beautiful story about coming to terms with loss and living life
on one's own terms. The marriage of these opposites forms a terrifying,
loving, and absolutely gorgeous modern American parable that is essential
viewing.
--Kyle
Jonathan