Directed by Kazik Radwanski
In an observation exercise that dispenses with explanations, the Canadian writer and filmmaker follows the character that Deragh Campbell masterfully composes for two weeks.
ANNE AT 13000 FT – 7 POINTS
Canada, 2019
Direction and script: Kazik Radwanski
Duration: 75 minutes
Performers: Deragh Campbell, Lawrene Denkers , Dorothe Paas, Matt Johnson
Premiere in Mubi.
Studio of character before narration of adventures, Anne at 13000 Ft. focuses in an absorbing way on the leading character, whom he scrutinizes in detail and from the place of an observer. Times are compressed, tailored to a narrow focus: an hour and a quarter of film and a couple of weeks in the life of the protagonist. That span, which offers no visual or narrative breaks, feels like a continuum in real time. There are, yes, mood breaks, the product of a psyche in a state of turbulence . These imbalances are not minimally visible, and they recognize a muted but persistent progression. After the climax, the story – or the portrait, in this case almost synonymous – leaves the heroine in a literal and metaphorical state of floating.
In the opening scene Anne ( Deragh Campbell) hands a butterfly to a group of children. They are seen in a situation of parity, it would seem that she is just his older sister or his cousin. It is your teacher . “Keep your place,” a colleague later challenges her, and Anne is left at a loss as to what to say, as if she were her superior and she was a girl who had just been caught missing. She will respond in her own way a few scenes later, provoking her fellow Sargent like a naughty girl. With her students she plays as one more, sitting significantly on the floor to be her same height. His mother, of course, is present in his life, in such a transparent way that it requires no interpretation. In the first scene together, Anne shows him the apartment she just rented. In the next scene between the two, Anne sleeps at her mother’s house, supposedly waiting to finish painting hers to move out. When she meets a potential “candidate” at a party she giggles, as an eleven or twelve year old might on a first date. The next thing is to get drunk and vomit.
Although the description may suggest a clinical case, by providing the protagonist with a huge variety of nuances the Canadian writer and filmmaker Kazik Radwanski runs her from that stigmatized place. This wouldn’t be entirely possible if it weren’t for the astonishing Campbell , capable of going, in a couple of shots, from laughter to tears and from tears to desolation. Able to fully enjoy too, when he swims in a public pool and, above all, when he takes his first skydiving lessons. At that moment she is seen in a state of ecstasy. As much as it costs her to find her place on land, in the water and in the air, Anne shows a disposition to abandonment more typical of a child than an adult.
Radwanski follows the heroine with camera in hand, letting her shake as much as she does internally. We only know about Anne what the camera knows : here there is no past that “explains” their behavior or a future that awaits it. The initial and final shots receive and leave in media res , capturing moments that last as long as the life of a butterfly.
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