As a supporter of films that challenge conventional narratives and offer nuanced portrayals of complex characters, I found “Familiar Touch” to be a truly remarkable cinematic experience. The film’s protagonist, Ruth, played masterfully by Kathleen Chalfant, is a woman in her 80s grappling with dementia, but she is far from the stereotypical victim often portrayed in such films.
In the movie “Familiar Touch,” as Ruth (played by Kathleen Chalfant) tries on a trendy camel-colored coat, it’s evident that she was once admired and pursued due to her charm and grace, even though she is in her 80s. Her attentiveness to her appearance, combined with the flirtatious tone in her voice when speaking to attractive men, underscores this fact. During a lunch with a younger man at her sunlit California home filled with plants and books, Ruth playfully teases him about getting along, implying they are both married, causing some confusion as he is actually her son, Steve (H. Jon Benjamin). The film, directed by Sarah Friedland in its debut, subtly reveals this secret through the gentle lilt in Ruth’s voice and her protective gesture towards Steve
Films depicting dementia often portray it as a terrifying ordeal, like a slow erosion from within, similar to how it’s shown in movies such as “Still Alice” and “Amour”. Viewers can relate to the heartache of watching loved ones lose their identity over time. From Steve’s perspective, his mother mistaking him for someone else is indeed distressing. However, “Familiar Touch” offers a more compassionate perspective – it tells the story of dementia not as a tragic ending but as a transitional phase for Ruth, as she prepares to move from her home into Bella Vista, a high-end care facility, which she herself had chosen. Although leaving her home isn’t easy, Ruth faces it with a sense of noble pride that eventually feels comfortingly familiar. She makes it clear to Vanessa (Carolyn Michelle, who exudes patience and kindness) that she is not one of those elderly people who require constant supervision. Interestingly, Ruth looks down on other Bella Vista residents, many of whom are played by actual residents of a retirement community in Los Angeles, with suspicion and even a hint of disdain
In a different phrasing: Instead of viewing herself as a resident, she perceives herself as part of the staff, occasionally stepping into the kitchen assuming it’s her work shift, which was her previous role as a cook. The staff there humors and appreciates her culinary skills. Vanessa becomes her friend, while Brian (Andy McQueen), the wellness director who checks up on her every fortnight, is a potential love interest she must feign patience towards to see him. This imaginary scenario eventually crumbles, but Familiar Touch is crafted sensitively enough not to portray this as a downfall or catastrophe. It’s too intertwined with Ruth’s experiences and her self-preservation for that, also because she remains remarkably herself even when unsure of her circumstances. Chalfant is an acclaimed stage actor yet to find the same platform on screen, and the subtlety of her performance in this role is extraordinary, conveying Ruth’s emotional turmoil without words and hinting at the inner workings of her mind as she performs small actions like placing toast in the dish rack and then staring at it, sensing something amiss but unable to pinpoint what. Friedland refrains from portraying the characters on screen with condescension, whether it’s Ruth, the complex character, or the caregivers like Brian and Vanessa, whose private moments and overheard conversations remind us they are more than just friendly figures offering care for those who can afford it
The Familiar Touch undeniably carries a tinge of sadness, yet it’s also brimming with saltiness and an abundance of tenderness – a clear assertion that Ruth’s life continues, despite her inability to live it as she once did. Time seems to have released her, allowing her to reconnect with her own memories in a vibrant kaleidoscope of experiences. One moment she’s immersed in her childhood recollections, and the next, she’s rejuvenated as an experienced hand wielding a paring knife. Friedland’s camera remains motionless, capturing Ruth’s journey with an eagerness that permeates the entire film. This stillness mirrors the uncertainty of someone who doesn’t know what lies ahead, but embraces it with more hope than fear
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2024-09-05 20:33