TIFF19 'Human Capital': Film Review
adapts both Stephen Amidon's 2004 novel of that name and the well-received Italian film Paolo Virzi made from it. The picture has bigger shoes to fill than those of a respected but relatively little-seen art house movie: Meyers' last outing,, took many by surprise with its unexpectedly sensitive handling of a serial killer's teenage years.
The next scene would seem to be the following morning, with the Jeep parked in the driveway of an attractive modern mini-mansion. But we're actually at an unspecified moment in the recent past, watching a father drop his daughter Shannon off to see her boyfriend, Jamie . Drew hasn't met the family yet, and an encounter with Jamie's mother, Carrie , turns chilly.
We're now with Carrie, learning some of the reasons we've glimpsed her crying in cars alone. It's not just the obvious — she's the middle-aged housewife of an adulterous capitalist jerk who makes pronouncements like, "competition is healthy by its very nature" — but that's certainly part of it. When Carrie strolls with her own brand of entitlement into an opportunity to rediscover herself, all her hopes for this pet project depend on Quint's indulgence.
If the third act holds our interest more firmly than the others, it's not only the excitement of seeing an actor cap her breakthrough year with a more substantial role than she had on. There's also the pending mystery of how all this will tie together: We know by now that the hit-and-run Jeep is Jamie's; that he probably wasn't driving at the time; and that Shannon knows more than she'll say. But several possible explanations remain.
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