In Nora Kirkpatrick’s first feature film, “A Tree Fell in the Woods,” we delve into the complexities of long-term relationships through the thoughtful portrayals of its four principal actors. Each character represents couples grappling with their future prospects. However, unlike the intense emotions portrayed on screen, the film’s power doesn’t primarily stem from its setting – a secluded mountain cabin. Instead, the coziness of this isolated retreat seems to minimize rather than amplify the mounting tensions. This leaves us with a movie that feels more like an outsider’s casual observations, with scenes arranged in a series of vignettes rather than a narrative driven by the collapse of a domestic structure.
Nestled in a quaint rented cabin, the New Year’s Eve retreat sees the reunion of two college best friends: novelist Debs (Alexandra Daddario) and financier Mitch (Josh Gad). Accompanying them are their respective spouses, who have previously only exchanged greetings: Debs is in a less than blissful marriage to photographer Josh (Daveed Diggs), while Mitch is deeply committed to his cheerful wife Melanie (Ashley Park), whose passion for cooking has resulted in her own cookbook.
The bond between Debs and Mitch forms the heart of this movie, standing out due to the rarity of deep male friendships portrayed in American films, and the charming performance by Daddario and Gad that brings their relationship to life. Their conversation on a winter hike feels like observing a long-established friendship with its unique shorthand. When a tree threatens them, their immediate reaction is not fear, but to share this extraordinary experience with their partners back at home. The film’s title, “Does it Make a Sound?”, hints at more than just a fallen tree in the forest; it symbolizes the importance of shared experiences in relationships, even when no one else is around to witness them.
If audiences often assume that a straight man and woman sharing screen time, particularly while hiking on a beautiful winter trail with arms linked, implies a romantic connection – this assumption is swiftly challenged when Debs and Mitch come back to the cabin sooner than anticipated, only to observe their partners cozying up together. Oh my. Despite Debs’ fury, eager to confront them, Mitch adopts a more inquisitive approach, asking her to disregard the sound of the fallen tree instead of causing an immediate rift in both relationships.
The hidden secrets shared between Josh and Melanie, as well as those known by Debs and Mitch but not openly revealed, create an intriguing game of cat-and-mouse throughout the weekend. As the couples interact in different combinations, simmering tensions and pent-up frustrations erupt in intense scenes that could topple both houses of cards (enhanced by Mitchell Yoshida’s tense, “Magnolia”-like score). Instead of allowing the unease from this setup to linger, Kirkpatrick opts to swiftly reveal each character’s hand early on.
The group of four finds themselves trapped by snow, unable to depart, and each individual is swiftly isolated to their respective rooms in the secluded two-story house. Mostly, what happens next is a matter of waiting for conflicts and personalities to clash, yet when they do, the performers convincingly delve into the peculiarity of their predicament. Regrettably, the underlying tensions between them rarely result in anything substantial – even when these are pushed out into the open by an unexpected bottle of questionable (and possibly hallucinogenic) moonshine from the Prohibition era. Although its consumption brings about some amusing visual effects, the ensuing relaxation makes genuine confrontation and self-examination too effortless.
Viewing “A Tree Fell in the Woods” often keeps you on edge, waiting for something dramatic to unfold. Apart from Daddario’s captivating portrayal – a delicate blend of character idiosyncrasies and maintaining order amidst chaos – the viewing experience is primarily observational. Additionally, it’s unclear exactly when the movie takes place as some elements suggest contemporary times, while others hint at a story set several decades ago. Despite subtle clues about the characters’ professions or surrounding circumstances, there’s such little detail that the time period remains uncertain, even as we stand on the cusp of a new year.
The movie’s conclusions primarily revolve around catharsis, though this is more frequently conveyed through dialogue rather than actions or visible emotional changes. The narrative often lacks visual coherence, with excessive camera movements that seem unnecessary and focus on uninteresting settings. At times, it may be challenging to discern the intended emotions or reactions, but the actors’ humor usually manages to divert attention. Compared to other independent films screened at festivals that reunite old friends during holidays, this one could certainly be worse.
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2025-06-11 15:17