Juror #2

I had heard good things about this film and watched it last night with a friend. It is a jury movie, except transposed in a way that 12 Angry Men has an additional complication. While in "12 Angry Men," it works as a closed room session which could be staged as a play production set, "Juror #2" needed to have the benefit of being a film.

The movie starts with Justin, a young guy with an expectant wife in her third trimester. The couple had experienced a miscarriage before this pregnancy and are still skittish about whether this time will go to term. Justin is summoned to Jury duty for a case in which a boyfriend and a girlfriend were arguing at a bar on a night with heavy rain. She walked off and was found in a ditch the following morning. The boyfriend is accused of being vindictive. But Justin in hearing the case is suddenly seized by a sinking feeling - he was at the bar that night.

It was the anniversary of the miscarriage and he was not wanting to bring that distress home. But he is also in AA recovery and is at risk of a relapse. On his way home from the bar, he hit something in the rain, but when he got out to check, it was too dark and rainy to see what it was.

And this is a high profile case, with the prosecutor wanting a conviction, as she is currently running for District Attorney and this would be a headline example.

So Justin is stuck by this unwelcome epiphany that he probably was the cause of this case, but is not sweating in the witness box facing a future of incarceration. Drama ensues.

This is a Clint Eastwood film, and so I was wondering how he wanted to resolve this story. He made his bones in western films, where there was justice and frontier justice. And you are following around this expectant father who finds himself responsible for an accident as a result of being in the wrong place at a bad time. Justin transgressed one of my mother's favorite parenting maxims of "Nothing good ever happens from being out late at night."

Does the film want to let our protagonist off the hook for his potential role? What is his responsibility to try to give this boyfriend a consideration of innocence? What about Justin's wife who would find herself effectively a single parent to an infant? What message or time does Clint want to leave with his audience as a guy who seems to want his films to carry hard truths?

 

No good path forward

Guilt carries weight of waiting 

How to save a life 

Holy Trinity (2019)

When I saw this feature pop up for a one night showing at a local independent theatre, the one line description of "A dominatrix gains the ability to communicate with the dead after huffing a mysterious aerosol can" got my attention for 'Why would you start with that premise and what are you wanting to explore with that?'

And the film appears to have spent the majority of its small budget on sets, props, and wardrobes, all of which had extreme contrast in aesthetic colors. But even as the editing style occasionally decided to go for a trippy and disorienting strobe effect, the film feels like it fits its intended purposes for its niche and target audience. It was interesting to see this film in a room of other people who felt seen and understood by the intentional visual cues and jokes through recognition and appreciation. For a stylistic choice, most of the brands throughout the movie are shown in pastel with words describing their contents. Some set pieces look uniquely distressed or modified, like a CRT TV set covered in a mane of white around the screen with shaving cream or flattened cotton balls. Or a store with the corporate tag of "Glamhag" which is also the name of the film's production company.

The cast and crew of this film looked like they were having a blast making it, as they delivered dialogue to one another in familiar tones and affects, like a group of friends deciding to amplify their mutual theatrical amusements with drama and posing. And the film's premise is absurd and plays in a heightened alternate world and setting apart from what feels connected to daily reality. But this filter on reality within the film underscores the tone of feeling like an alien having to process what normal would look like, with hypermundane branding of everyday items, and extravagant costuming. There are musical and dance performances being part of the fabric of what the film wants to display. There are extended set pieces and tangents which show flashback scenes and backstory of what drew the characters in the film to seek solace in deep and old wounds, roleplaying the scenarios to process, console, and control what had affected them.

At times the film feels extremely raw and intimate, like it is too much to display in terms of emotional and personal traumas being aired out like sticky clothing on a humid day. It is imperfect and fantastical in its dreams and yet leans into these areas even when difficult conversations must be had to resolve the characters' conflicting desires, and needing to reach out to others from humility for guidance.

Will I watch this again? Probably not, but it shows a world and perspective with an open hand and heart, one which asks some questions of joy, acceptance, and resistance against convenient conventions. The characters are messy, but delighted to participate in community with each other. It feels like a movie you would make with your talented friends and a ridiculous idea which made you laugh together and try to chase and tease out what it could do and where it could go. Speaking to the dead doesn't really go anywhere, but the experience and environment make a haunted impression of annoyed dynamically static landscape.

 

A canned response heard

An unusual echoed hum

When struck and blown out