A good filmmaker doesn’t just stage a scene. He or she creates a space. When that happens, we’re no longer just watching the characters — we’re drawn right into that space, until we’re almost floating in it, in sync with the characters’ identities and interactions, their minds and heartbeats. That’s the kind of meditative absorption that Jamie Dack, the director and co-writer of “Palm Trees and Power Lines,” creates.
The story she’s telling emerges from the chaos of today’s glumly hedonistic and squalid tech-addict youth culture. Lea (Lily McInerny), who’s 17, is smart and shy (because she’s honest about her own inwardness), a girl who’s not trying to act more knowing than she is. Finishing off the summer in her desultory anonymous hometown somewhere in the Southwest, she’s listless and mildly depressed, lurching through the weeks in a daze of sunbathing,...
The story she’s telling emerges from the chaos of today’s glumly hedonistic and squalid tech-addict youth culture. Lea (Lily McInerny), who’s 17, is smart and shy (because she’s honest about her own inwardness), a girl who’s not trying to act more knowing than she is. Finishing off the summer in her desultory anonymous hometown somewhere in the Southwest, she’s listless and mildly depressed, lurching through the weeks in a daze of sunbathing,...
- 1/24/2022
- by Owen Gleiberman
- Variety Film + TV
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