Sundance Review: Cynthia Erivo And Alia Shawkat In Anthony Chen’s ‘Drift’
Film Festival, operates in observational mode for the first half-hour or so as we behold the curious movements of a young woman one assumes is a refugee from Africa as she moves through the crowds of tourists along a beautiful coastal resort stretch of Greece. Jacqueline gives a massage here, earns a tip there, and you soon get the feeling that if she could make herself invisible, she would readily do so.
But there’s something about this woman that sets her apart from the other refugees working the beach, the first giveaway being her tony British accent, even if she speaks as few words as possible. You get the feeling that, despite her effort to remain inconspicuous, she is afraid of being exposed or somehow found out.
This sense of intrigue has been sustained just long enough when another young woman, Callie , a legit and gregarious tour guide who leads groups around the gorgeous and rugged seaside area, makes a connection with her, or at least attempts to; Jacqueline is as withdrawn and close-mouthed as she could be.At first unobtrusively, then forcefully, Jacqueline’s deep tragic secret is revealed.
Once the dreaded secret is revealed, you begin to appreciate all the more the quiet and restrained way Chen and the writers have structured their telling of this tragic tale. The circumstances and their aftermath might have induced more crude and obvious filmmakers to crank up the melodramatic nature of the payoff, but the proportion and slightly underplayed approach feels just right given the mystery embedded in the more subtle approach taken.
This admirably achieved storytelling would appeal to what, once upon a time, was called the arthouse audience. To what extent that even exists anymore is open to question, but discerning viewers wherever they are will well appreciate the skill with which this slow-burning drama has been prepared.
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