Over her six-film career, including works like Old Joy , Meek’s Cutoff and Certain Women , the independent filmmaker Kelly Reichardt has established a highly individual perspective on questions of gender, feminism, socioeconomics and sexual orientation, set within an aesthetic framework that is guided by the low-budget techniques of ‘slow cinema’, minimalism and neorealism. In this close reading of her films and production methods, E. Dawn Hall defines Reichardt’s auteur characteristics, arguing that she offers a contemporary and sustainable model for independent filmmakers in America.
“I’m far more interested in the inherent drama of everyday life…”
So says Kelly Reichardt, a filmmaker who may not be a household name, but who’s work commands respect within the industry and a loyal following of supporters. This book comes from an academic angle, one that is as interested in the themes and messages of her work, as much as the craft of filmmaking, although there are interesting insights into Reichardt’s choices of media and framing, as well as her approach and technique. Whereas 'Auteur' can be a heavy tag, and one often misplaced, it certainly applies to Reichardt, who presents a very clear style and approach to filmmaking, whilst resisting being pigeon holed into being a purely feminist, or independent, filmmaker.
The book is well researched, stretching back to her first film ‘River of Grass’, her increasingly hard to view short films, especially 'Ode', and then through her main body of work ‘Old Joy’ to ‘Certain Women’. Of these I feel that ‘Meek’s Cutoff’ gets the most attention, whilst the chapter on ‘Certain Women’ actually feels a little lacking in comparison to the others.
If you have ever enjoyed any of Reichardt’s work, then this is an interesting and educated window into her world.
Decent overview of Reichardt’s filmography with some particularly interesting info about the production of each movie. Can’t say the prose is all that sharp though.