About The Brief History of a Long Road
“The package” has come to accelerate what was already happening: freedom of selection and the way to view an audiovisual. Still, hesitations follow in the form of questions: How many packages are there? Which one’s the best? Will the “facilitator” recommendation of the package be worth it – can I tell you already packer? . . What will I see after I have implemented my own discard policy? How do I classify what really deserves to be seen? In fact, what’s worth seeing? Not to answer directly all this is born If it is the package. The purpose is rather to stimulate the viewer from a series, a documentary, a feature film, especially feature films.
More than a review section, it will be critical commentary. Joining data with loose ideas without arguments doesn’t interest me. Although reviewing is more than the above. I will recommend a cinematic work of the package and, the reader/viewer, wretched or not agreed with me, will have seen the work or looked for it to appreciate it for the first time. That’s how long I wait. Although I would very much appreciate other comments without them departing for the need for what I wrote.
Anyway, we can’t deny the influence on our lives of the “Cuban” package. He has scored a before and after in the way we interact with the cinema from our house and at the right time. Which one? The one we’ve chosen for personal convenience. No more, no less.
If this is the package opened this week with the film The Brief Story of a Long Road, which I will already advance: it is of such unsettling stillness and beauty that you can not fail to see it. I’ve decided to call this comment She’s already been on the road. The reasons will soon be understood.
Starting from the first images and the title itself: The short history of the long road, Ani Simon-Kennedy’s 2019 feature film could be instantly catalogued as a road movie and even almost buddy film. But, unlike the constant imposition of chance on physical and symbolic transit to which we are usually invited by wagon films, from the beginning of this plot we are aware both that they are looking for their characters and a percent of how capable they are. What we are not clear about is the setbacks that father and daughter – Clint (Steven Ogg) and Nola (Sabrina Carpenter) – will face. Here’s the key to sitting back and focusing our attention on everything that will happen.
The script had reached the 2015 Bentonville Film Festival award for Best Screenplay. The festival, which featured Geena Davies and Bruce Dern, recognized a looming eye-catching film project. Funding and the right cast had to be found for a drama of self-improvement and sincere commitment to the American sociocultural fabric.
There was no pretence of erecting an existentialist history and less of taking views of notable or belittled territorial points. However, there are intervals of vindication and criticism, which therefore involves subtle analyses, views, twists on the soundtrack… In fact, when we are introduced to the first two characters: Clint and Nola, we witness the declaration of a way of life, which is not out of necessity a program to the letter, even if it has nuances of vital manifesto. In this case, it would be the release of the responsibilities involved to belong to a single context, to influence it.
Escape, detachment, rejection? What are these characters about? “Not everyone wants to live like us,” Nola tells her father as they move into the little trailer. “Of course they do. Fear is the only thing that stops these people. They have their way in. They have their backyards, they have their pools. We have our freedom.” He ends up answering to his daughter.
A sudden change of fortune will cause the girl’s not-so-initial stage to further expose the pilgrimage phase present in advance in the chronological account. Nola will learn to walk alone and otherwise insert the suburbs into her inner world. The suburbs involve repairing the known and the ignominious: suburban and desert landscapes, successive abodes and individuals who will appear as the mechanic played by Danny Trejo, who fosters another very grateful tone in the girl’s relationships with others.
From the mechanic to Blue, the new friend whom, in a moment of trust, Nola tells her why she was brought up at home and not in a regular school: “(…) the state of education in America is in ruins. He has been in this deep crisis since the 1950s. I had the best education in the world and it didn’t cost a penny.” Her education is also reflected in a maturity by force of fragmentary readings and discontinuous films but prolonged by her imagination. This allows you to understand the conflicts of people from different generations. Nola, who has burned stages, has also learned to look and listen. Literally, you’d say it has more street than its years stand. Even as a routine girl, her experiences place her at a higher level of contemporary teenagers and young people.
In a film of more women than men, screenwriter and director Ani Simon-Kennedy has been right that a boy would not make the court of his protagonist. Nola’s hormonal stampede focuses on moving on, without expecting much from people not to be disappointed. Which doesn’t mean I’m quiting to meet other people. Wherever the road takes her goes because, by loving herself as she is, she can then love what is worth loving from the vast world.