‘Magic Hour’ Review: Katie Aselton and Daveed Diggs Play a Long-Distance Relationship Going Sour in Daring Desert-Set Love Story

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In “Magic Hour,” the situation between Erin (Katie Aselton) and Charlie (Daveed Diggs) in their long-distance relationship is somewhat unusual. Director-star Aselton, along with co-writer Mark Duplass, have a knack for creating intriguing, high-concept plots that delve into mental stress. It appears a weekend trip to Joshua Tree could provide a unique, face-to-face break for the couple. However, their meeting suggests they are more distant than ever, paving the way for an even more intense drama at the core of Aselton’s occasionally challenging yet bold drama.

The mystery of what’s causing a rift between Erin and Charlie remains unresolved when Brad Garrett hands Erin the keys to his desert home, as they both vaguely refer to “it.” This vagueness can be frustrating given the time it takes for the movie’s climactic moment. However, whatever “it” is must be significant since their bond appears strong, if not physically close. The term ‘codependent’ could aptly describe them, although this term may imply unhealthiness. This relationship dynamic is further emphasized when Charlie questions whether they fit this description after recording a birthday message for Erin (Katie Aselton). He himself isn’t sure about the appropriateness of this label, yet his honest admission that he feels he’s nothing without her is more heartfelt than just sending her a song, even if it adds a touch of unease.

On their weekend, Erin and Charlie embark on a walk through the desert, symbolizing perhaps the challenging journey they’re navigating as a couple. However, the movie “Magic Hour” swiftly shifts indoors soon after Charlie mentions the problem that has caused a rift between them, an unsurprising disclosure given the limited number of hardships a couple could experience. This revelation adds tension to the film, as Aselton creatively explores what it might feel like to lose a partner whom Erin had intended to spend the rest of her life with. The movie, utilizing the typical Duplass production style that requires only one setting – a house – and cell phone videos, takes unexpected turns as Erin grapples with a torrent of mixed emotions, struggling between moving on while Charlie is still deeply intertwined in her life.

In this production, Aselton strategically casts Diggs, a vibrant and irresistibly likable actor, who was also a member of the original “Hamilton” cast, to create tension with her protagonist’s character. The film occasionally echoes the dreamlike quality of Dogme 95 films like “The Celebration” and “The King is Alive,” as it skillfully employs basic filmmaking techniques to heighten the emotional charge between the couple. Quick editing allows Charlie, who appears in Erin’s thoughts, to seamlessly enter and exit scenes, while the natural lighting and Sarah Whelden’s close-up camera work are effectively used for dramatic effect.

The sudden formal elements disrupt the general flow of an otherwise straightforward storyline, as when a procession of guests intrude upon Erin’s healing journey and her gradual re-emergence into society. An encounter with a boisterous group of drag queens may feel forced and artificial. Later, a host offers Erin a massage, which helps her recall the sensation of touch, but rapid cuts between her past and present make the scene seem overly elaborate, especially given Aselton’s usual ability to convey emotions effectively through powerful performances and creative camerawork. Nevertheless, these attempts to imbue the film with a sense of tactility in portraying a connection straining under the weight of love are commendable, if somewhat heavy-handed at times. Ultimately, many aspects of “Magic Hour” will leave an indelible impression on viewers.

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2025-03-20 01:46