As someone who has navigated the labyrinth of love and life experiences in various corners of the globe, I find Susannah Grant’s “Lonely Planet” to be a captivating exploration of the human condition. The story is a refreshing departure from the predictable narratives we often see in romantic films today, focusing more on the delicate entanglements that bring these characters together rather than the problems that arise from their age difference.
In a year filled with steamy romances like “The Idea of You” and “Babygirl,” where younger men pursue older women, it’s a breath of fresh air to find a film like “Lonely Planet,” directed by Susannah Grant, that doesn’t focus on the complications arising from an older woman falling for a man significantly younger. Instead, the movie delves into the intricate reasons behind these characters crossing paths, offering a captivating exploration of their complex lives. Although some specific aspects could use more refinement, the depth and texture within their personal lives are engaging.
Acclaimed author Katherine (Laura Dern), having parted ways with her cancer-conquering sculptor ex and finding herself homeless, grapples with writer’s block as she strives to complete her upcoming masterpiece. To escape the stress and meet editor deadlines, she journeys to a prestigious writing retreat in Marrakesh. However, her journey is marred by setbacks: her luggage goes missing, her ex-lover Ugo (Adriano Giannini) shows up unexpectedly, and there’s an issue with the water pipes in her lavish suite. But things take a turn when they finally start to look up for her.
Introducing thirty-something Owen (played by Liam Hemsworth). He believes he has life all figured out, juggling a demanding career in private equity and playing the loving boyfriend to up-and-coming author Lily (portrayed by Diana Silvers), who’s grappling with the weight of writing her next books. However, destiny brings Owen and Katherine together during their visits to the bustling Moroccan markets while other retreat guests are busy working or sightseeing. They strike up a playful friendship, discussing profound subjects like travel, work, and human nature. Meanwhile, the veneer of Owen and Lily’s seemingly flawless relationship starts to crack as their daily interactions turn into heated disagreements. It becomes evident that Owen and Katherine are destined for a passionate romance.
In her writing, Grant skillfully captures the underlying tensions and intricacies between her main characters, notably the complex build-up towards Owen and Katherine’s passionate encounter. She delves deep into the undercurrents of conflict within the younger pair, suggesting that their relationship is in worse shape than the actual ruins they explore during a day trip. Neither Owen nor Lily can be labeled as the typical antagonist in their breakup; however, Lily’s arrogance, hypocritical snipes, and emotional infidelity with fellow writer Rafih (Younès Boucif) are portrayed more often than Owen’s workaholic distractions. Grant takes care to avoid dialogue undertones that might make Lily appear foolish instead of sensible, especially when conveying the poignant themes of the story.
One captivating aspect of the story lies in the authenticity of its character illustrations: Unlike many similar films, Katherine isn’t overtly struggling with sexual frustration or defined by her present hardships. She doesn’t pursue Owen, even though there’s an undeniable spark between them. Their relationship and its complexities seem genuine – they’re both navigating life, mistaking survival for happiness. However, when the chance for true love presents itself, they discover through self-discovery that they can improve by supporting each other. Dern and Hemsworth deliver compelling performances, infusing a lively spontaneity into genre conventions (such as their meet-cute scenario and third act struggle).
In her subsequent movie to 2006’s “Catch and Release,” titled “Second Chances,” Grant commits some newcomer blunders. From the outset, there are small errors such as the excessive use of visually jarring special effects and scenes shot at night during the day. It’s puzzling how Katherine, who leaves her room due to a broken plumbing system, manages to keep her hair clean without access to a shower. This seems implausible, given that it’s unlikely she stays fresh just from swimming in the pool. The side characters, other than the primary trio, are largely underdeveloped, and their presence feels more like tokenism rather than contributing to the story’s energy. Characters such as Ugo and the cranky Nobel Prize winner Ada (played by Shosha Goren) get a brief spotlight, but even they suffer from a lack of character depth. Ada does provide one of the film’s scarce comedic moments, however.
Grant manages to maintain a softer, more heartfelt tone for the film, similar to “Under The Tuscan Sun,” rather than the typical comedic romance Netflix usually offers. However, the recurring theme that people may need to get lost in order to find themselves feels overused and cliché, more like a worn-out saying on home decor than a profound realization. The film’s polished aesthetics, such as the scenic shots of the luxurious estate and its stunning desert landscapes, and the friendly smiles of locals helping travelers seem to conceal an emptiness. Despite the vivid characters and engaging storylines, it seems as though the narrative has been sanitized by an algorithm, resulting in a blandness that overshadows the potential depth.
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2024-10-11 03:46