Thought to myself, Kelly Reichardt does not know how to film violence. And then I thought: how should one film violence? I love her voice. She's mastered a down-to-earth filmmaking that always stays true to its subjects and surroundings. I would've liked to the see the story from Dakota Fanning's point of view. Jesse Eisenberg's agency grows tiring.
There is a moral heft that Reichardt grants to each frame of her excellent thriller; in the first procedural half it's located in the contradictions and sacrifices betrayed by dialogue and actions. In the second half it poisons the spaces occupied, paranoid and forever tainted. The balance achieved between belief and repercussions, the ambiguity straddled, is masterful.
Des acteurs irréprochables, une thématique incontournable ainsi qu'une réelle maîtrise de l'espace conflictuel ne suffisent pas pour donner à l'oeuvre une dimension supérieure, un véritable souffle narratif et politique. En effet, les 3 personnages principaux manquent cruellement d'étoffe et de développement psychologique, pour insuffler une assise, un sens, une profondeur à leur geste extrémiste.www.cinefiches.com
This is a thriller on par with an Antonioni film with a little bit of Hitchcock sprinkled on top for good measure. Kelly Reichardt is a very intimate filmmaker who relies more on emotions than anything else to tell a story and it is absolutely brilliant. Eisenberg, Fanning, and Sarsgaard are brilliant too as they navigate themselves through this finely crafted film.
(...)Dank der Kamera von Christopher Blauvelt ist Reichardt ein wundervoll komponiertes Werk gelungen - einer der literarischsten und düstersten Filme des Jahres. Hier erleben wir, wie Menschen den Raum der Dunkelheit betreten. Sie kämpfen für ihre Überzeugung, immer aber im Schutze der Nacht...
Perhaps 2 years ago when I don't know Reichardt completely, I watched this & think "What a boring & tenuous garbage is !" Well, I was irredeemable idiot. Rewatching this, I noticed that "Night Moves" is tensely insightful thriller with keeping her minimal & matter-of-fact direction. At this time, I'm especially impressed with her depicting how Jesse Eisenberg's charismatic character is captured by paranoia. Amazing.
Interesting how at the end movie turns out to change its focus from environmental issues to more individual problems gradually (at some point annoyingly slow though) revealing the messed up side of a person who seems to care for his world but has very strong detachment from any social & human-related bonds or empathy for living beings (the episode with the pregnant roadkill whose baby could have possibly be saved)