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Unless you like this kind of story (and there’s nothing wrong with that), a sacred love triangle isn’t really the most alluring and inventive thing Drake Doremus has to offer for his return. At least not after his latest sci-fi drama Zoë. But more than getting a well -dressed approach to narration, the filmmaker – who co -wrote the screenplay with Jardine Libaire – didn’t even try to avoid the traps and so re-used his worst shots.

The film presents the torrid Frank, a strange bad-boy who is camped by Sebastian Stan, and his best friend, the kind Jack, a sexy and dedicated writer played by a Jamie Dornan who better looking at the opposite look at its more sulfur role in. Fifty Shades of gray. In an equal way, the two handsome children fall under the spell of the beautiful and sad Daphne (Shailene Woodley), a 30-year-old struggling to survive who recently left her super boyfriend and his dream job for reasons that are not clear. .

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A picture that would seem less artificial if the film didn’t magnify the feature by scoping a cigarette between his fingers to make him more unobtrusive and thoughtful. Apparently, her heart changes between two men who are completely opposed, forcing her to choose between a perhaps ephemeral love or a stronger, but more harmonious relationship. Little finesse or originality in vision, therefore. Even if the film tries to portray complex and conflicting feelings in a simple way, it is especially skeptical and uncertain at the heart of the work.

Perhaps the worst part is that the film tries to cover up his lazy, ridiculous TV movie writing. more polished and cinematic plastic. First of all thanks to the photo of Marianne Bakke, whose lack of contrast gives the image a pale and foggy patina that is a bit excessive, but it perfectly fits the melancholic state of mind of Daphne. In the same way that the overlay of text messages (which takes away the bias of not being presented as text messages) brings out the veils of bright colors in resonance with his feelings.

Endings, Beginnings: photo, Shailene Woodley, Sebastian StanThe option to save all risks, but no insurance

Overall, the film wants to adopt a thoughtful, albeit weak tone, with stretched shots and a soft and careful soundtrack. The fact that the dialogues are re-improvised, and therefore have to be more detached and hesitant, reinforces a bit the monotony of the atmosphere while providing spontaneity and authenticity in general.

The interactions between the characters are believable, even if in retaliation, they also contribute to evaluating the dynamics of the story, especially by leaving plenty of room for quiet and confusing responses. Continuing under anti-depressants loss of my Religion and red filters to mark some fast moments end make the film more noble and superficial than sober and elegant.

Endings, Beginnings: photo, Jamie Dornan, Shailene WoodleyHeads or tails


As you would expect from the beginning, Daphe’s goal is not so much to find the man in her life but to find herself, the love triangle that is truly a story of personal growth and freedom. love again almost only focusing on its female character, using other protagonists as props or rag dolls. Even if both actors are willing to lend their charisma, Jack and Frank never gained consistency and this careless inaccessibility is more frustrating than pleasurable or enticing.

The scenario leaves no room for the sensitivity and quick wit that should characterize the first, nor for the neuroses and eccentricity that should motivate the second. Their friendship – which consists of one of the knots in the story – is mentioned only in substance and the scenario does not allow them the possibility of fully expressing their emotions or communicating with each other. And even thinking they are secondary characters, Daphne’s introspection and evolution are too caricatural to give the film density which remains very far removed from its characters and their experiences.

Endings, Beginnings: photoCharacters that are always in the background (literally)

Daphne is a lost woman and her situation at the beginning of the film should support this: she returns to Los Angeles where she has no job or apartment. She was embarrassed to squat in the pool-house in her brother’s luxurious house and was rejected by the world of work for lack of professional experience. But these financial and material problems where the scenario insists can be solved by the wave of a magic wand and then try two or three confusing pirouettes in the account that the film is even heavier and ignores the simplicity it claims in addition to its message of liberation.

An event thus transforms Daphne and is found to be vague in the plot, but the scenario has a way that is too elliptical and vague to effectively give full importance. Surprisingly, despite all his writing problems and his violent fall a few meters from the finish line, it’s divisive, passive and indeterminate in nature. Shailene Woodley was allowed to give one of the best performances of her career, if not the best. And that’s the most positive thing we can remember.

Love will be available again from February 7, 2022 on Amazon Prime Video.

Endings, Beginnings: photo

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