Like a stoned Toni Erdmann, Donald wields plenty of sad and funny truths about those who want to forget their roots and those who'll always remind them. Perhaps it's because of my own rural roots that this hit home - the perception of elitism thinly concealing insecurity. Two embodied performances that alone demand attention. Maybe dwindles its surprise element, but compensates with authenticity.
Kris Avedisian proves to be a poet of discomfort in this indie comedy about a banker who returns to his working-class hometown and finds himself tied to a long lost, strange childhood friend. It's an endearing, painfully funny ode to the oddball, fortified by a outright weird performance from Avedisian himself as the lovable, awkward childhood friend.
Una película que halla sus logros por su protagonista, un personaje peculiar, excéntrico, pero que no deja de crear afección. La trama de "Donald cried" gira en torno a la premisa del retorno al barrio, un regreso que más que encontrar una especie de retorno nostálgico (o redentor) es simplemente una vivencia del momento.
Dude goes home after a decade and change. Reluctantly. Bumps heads w/ old buddy. They have grown in separate directions. The guy who left grew up (problematically). The guy who stayed remains arrested (and is clearly the guy you would prefer to hang out w/). This is a pretty standard indie template. But I like Donald Cried way more than, say, Old Joy. Because it is ferociously funny. Because I root for these people.
The core of "Donald Cried" is pure awkwardness. Donald, who is incarnation of awkwardness, went everywhere & this place was burn out by his awkward attitude, awkward talking & awkward gesture. Due to documentary-esqe cinematography by Sam Fleishner, we witness this shameful situation like diner's customer sitting down next to Donald & feel "No...no way, stop that, please stop that, Awww" interestingly unpleasant film