In my final film report from Tribeca Film Festival 2019, I reflect back on the last three. Each of these are serious, reflective stories, some based on real events (some capturing them) and they all have moving moments of contemplation.
Two/One (Juan Cabral)
I was a little at odds as to how I felt about this film, but I think the uncertainty suits this particular storyline. There’s a great conceit, with two characters, seemingly unknown to one another, living on opposite ends of the globe who are tethered. Why does one seem to sleep when the other is awake? These two are unknowing at the will of whatever is threading this encroaching connection.
One is in Canada, ski jumper Kaden (Boyd Holbrook) and the other in Shanghai, businessman Khai (Song Yang). Both are dealing with their own issues, that somewhat mirror one another to an extent, whether it be their woeful fatherly or fledgling romantic relationships.
Answers aren’t a requisite part of the movie, which I was completely on board with. There’s a stepping stone in the start, and the story takes time to build to a point where you can feel engaged, but it gets there. Part of the reason is the astute application of the script, giving us seemingly normal stories that are wrapped within a larger puzzle. Who knows, maybe we’ve all got someone else, on the other side of the world, that rises when we rest.
Both Boyd Holbrook and Song Yang give thoughtful depictions, each with their own measure of insecurity and sensitivity. All of the supporting cast is terrific too, with Jia (Zhu Zhu) consuming each scene she’s in. Beau Bridges has a memorable turn as Kaden’s father, and Dominique McElligott plays Holbrook’s flame he can’t seem to let go of.
Two/One, directed by Juan Cabral, is a meticulous feature, one that finishes with a level of ambivalence that matches the singular vision from its start. I found myself drawn to these characters, and though I wanted to have explanations, I was okay with the movies lack of clarity. A bit surreal, shrouded in mystery, Two/One’s enigmatic angle makes for an uncharacteristic and interesting drama.
A Day in The Life Of America (Jared Leto)
Jared Leto’s documentary is one of imagination and heart. All set within Independence Day, filmed in all 50 states, interviews and clips are pulled from across the country. There’s something to be said about the commitment needed here, and the aspiration behind such a project. There’s a smattering of voices, professions, and traditions, all woven in a way that shows the diversity of our nation.
With 78 minutes there could have been even more, as this is just a snapshot of America, on one day in really only a smaller number of concentrated states, but what a look it is. There’s a troubling, but entirely real lens, of where we were in this country in 2017 (and, still are). One particularly distressing section has white supremacists in preparation for their march in Charlottesville, VA, which as we know, had significant consequences.
Leto gives a lot of time to the underrepresented, but also doesn’t shy from showing racists, which aims the film to be objective, which I thought was one of its strongest components. He doesn’t compromise art to spare the audience.
Thirty Seconds to Mars (Leto‘s band) composes all the music for the film and it supports the pieces well. I don’t envy him having to choose what to include or not, and maybe there are some things I could have done without – or others I sought more of. Even if some things left a bad taste in my mouth, I still admire the intent and there’s plenty to appreciate.
There are a lot political elements, but Leto leaves us hopeful, despite what we’ve seen. This is America, after all, and where there’s dark there is light, and if the celebration of Independence Day doesn’t remind us… what will?
The Kill Team (Dan Krauss)
Military movies don’t always grip me. There have been many that have over the years, but it can sometimes rely too heavily on action or exterior. The Kill Team, written and directed by Dan Krauss, who also did the documentary of the same name, is not that. The depth of The Kill Team, further incurred with uneasiness and sobering performances, make this one of the biggest surprises this festival. Though, considering the talent involved and the riveting subject matter, it shouldn’t have been.
This is a movie that utilizes its stars, values its true narrative background, and ultimately finds a voice for those stuck in difficult situations of moral integrity.
Nat Wolff, in a reaffirming and star-making performance, is Andrew, a young soldier recently deployed to Afghanistan. In the beginning he yearns to be in the military, bursting with youthful energy and a sense of duty. Not long into the film, he’s put in a precarious situation when he sees his fellow soldiers murdering innocent civilians under the direction of his superior Deeks (Alexander Skarsgård). He knows this is wrong and he wants to speak up, but he’s outnumbered, and Deeks, as well as fellow soldiers, expect his silence.
Paranoia, loyalty and the quest for what’s right are all important facets here. Krauss writes an excellent script that feeds on the blood, sweat and tears of his rounded cast. Alexander Skarsgård has a knack for being charming, and yet still formidable. This tightrope is tested here, and he fully balances it with a chilling confidence. Wolff is really our guide, bearing the responsibility with remarkable ease, and delivering an emotionally mesmerizing performance as the petrified Andrew. Some of the scenes between him and Skarsgård are expertly tense, making this based on a true story drama a standout. Rayburn (Adam Long) also gives an auspicious performance as another young soldier, taken under Deek’s controlling wings.
The Kill Team may exist within the confines of a military setting, but duty and honor is just part of it… at its base the humanity is where it will get you.
I was able to speak with stars Alex Wolff and Alexander Skarsgård, and director Dan Krauss on the red-carpet premiere. Here’s what they had to say.
On what drew Wolff to the role:
Nat Wolff: I was very, very blown away by Dan’s documentary, The Kill Team, and I was lucky enough to get to meet Adam. The character that I get to play, his name is Andrew, but it’s based off his struggle. I felt it was an honor to be a part of this story. It was difficult at times, but one of the best experiences that I’ve had.
On meeting Adam Long:
Nat Wolff: I didn’t get to spend a lot of time with him. I visited him in Seattle, and we got to hang out, we watched some Sopranos together, and we got to know each other better and better. And by the end of the two days I spent with him, he really started to open up about some of the things that had went on and some of it ended up in the movie, but Dan already had a really great relationship with him anyway. So, the fact that Dan knew this material made it so much easier for all of us.
On what was most difficult:
Nat Wolff: I think the subject matter, especially because it was based off true events. I haven’t done many stories like that. It’s just constantly a reminder of the responsibility that you have to tell the story honestly, and also stay true to your artistic vision.
On his character:
Alexander Skarsgård: I play Deeks, he’s a sergeant and he is in charge of the situation here and he is very experienced, he’s older than the other enlisted guys. They look up to him, initially. He takes advantage of that and he has his… own moral compass, which is slightly different from most peoples. He believes in what he’s doing in Afghanistan. He is a master at manipulating other guys, into thinking the way he thinks and following his orders. I think it is easier for him, because they are younger. It’s their first tour, and they do look up to him. They sort of surrender responsibility because he’s their leader. Some of the guys lose their own morality, and start to question their own morality, so it complicates things and they do stuff that they probably wouldn’t have had it not been for a guy like Deeks.
On researching the role:
Alexander Skarsgård: I have a bit of experience, I’m a sergeant in real life as well. [Laughs] That was my research!
On the difference from doing the documentary and now the film:
Dan Krauss: Storytelling is storytelling, images are images, and I think there’s a converseness that you build up doing any kind of visual storytelling that you could use for a documentary or the fiction film world. On the other hand- the ship that you are steering when making a narrative film is massive compared to the ship that you’re driving in a documentary. The amount of forethought and logistical work that goes into doing a feature, that was a completely new realm for me. And, by taking a story, that by definition is objective, because when you do a documentary it’s an exercise in objectivity and doing a fictionalized retelling of a story is the opposite. In some aspect, it’s an exercise in subjectivity. You are trying to place the audience emotionally in the point of view. So, there was a process of letting go of my journalistic objectivity and finding myself in a more emotional, space. That was exciting, and I had never done that before.
On whether or not it was a challenge:
Dan Krauss: Yes, huge challenge, monumental. The script alone was a year of writing and agonizing work. And then developing it and the process of actually shooting it is incredibly painstakingly difficult. There’s nothing easy about making a movie. Every day is just jumping massive hurdles. Every day of production for three months. So, it’s a marathon and your physically and mentally exhausted at the end of it. But, you arrive at a place like this on a beautiful evening in NY and all these people are coming out to watch your work and that all somehow vanishes, and becomes background.
Film Inquiry would like to thank Nat Wolff, Alexander Skarsgård and Dan Krauss for speaking with us.
Thanks for following our coverage! Were you able to catch of these at the festival? What did you think? Let us know in the comments below!
All three films premiered at Tribeca Film Festival.
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