‘Matt and Mara’ Review: Two Writers Rekindle Their College Bond In a Subtly Slippery Relationship Drama

by

As a seasoned film critic with over three decades of experience under my belt, I must say that “Matt and Mara” is a breath of fresh air in today’s fast-paced, CGI-driven cinema. This film harks back to the days of mumblecore, but it does so in a way that feels refreshingly modern. Kazik Radwanski’s freewheeling storytelling sensibility is a delight, pushing the boundaries of what we might expect from such ostensibly static material.

In the passage of thirty-five years since “When Harry Met Sally…” explored whether platonic friendships between opposite-sex adults are possible without complications from sexual desires, the film “Matt and Mara” presents a modern take on this theme, adding layers of social tension – prompting us to question if it’s wise for two emotionally complex writers to interact professionally or otherwise. Directed by Canadian writer-director Kazik Radwanski, this is his fourth feature film, and it continues the trend established in his previous works, both in terms of recurring cast members like Deragh Campbell and Matt Johnson (who were also leads in his 2019 hit “Anne at 13,000 Ft.”) and in its distinctive, restless storytelling style that transforms what appears to be stationary situations into compelling cinematic experiences.

In the past, during the height of the mumblecore movement in independent filmmaking across North America, a movie like “Matt and Mara,” a dialogue-heavy character study, might have been more mainstream than it appears on today’s art house scene at 2024. However, this doesn’t mean that Radwanski’s loose, improvised style seems old-fashioned or imitative. Similar to “Anne at 13,000 Ft.,” a film that delves into characters pushed to their limits, his new work also avoids comfort and instead seeks an often tender, sometimes intense intimacy between characters who may know each other too well or not quite enough, depending on the level of relationship they establish.

Initially, Radwanski’s film introduces its character titles briefly without providing much background information, instead leaving it to the viewers to piece together their history as we become acquainted with them. Mara (Campbell), a professor in her thirties at a Toronto university, displays a mix of excitement and frustration on her expressive face when Matt (Johnson), whom she hasn’t seen for some time, unexpectedly barges into one of her classes.

He’s known for his bold, arrogant moves and high-profile status in the New York literary world, having numerous successful novels under his belt. Once college friends at a Canadian university, they were both considered prodigious talents. However, while Mara has chosen an academic career and is waiting for her big literary break, raising a young daughter with her musician husband Samir (Mounir Al Shami), there appears to be a significant disconnect between them. To those who know them, she surprisingly admits to having no affinity for music, which raises uncomfortable questions.

Matt boldly returns to town for an extended stay, aiming to reconnect with Mara using his charismatic nature. When a passerby assumes they’re a couple, she goes along with it, not just because he injects excitement into her life that’s been lacking, but also because he reminds her of a time when her life held more adventure and potential. When Samir can no longer drive her to an out-of-town literary festival where she needs to speak, Matt offers to take over – even including a visit to the romantically significant Niagara Falls on their route.

Throughout most of the movie, it’s unclear if Matt and Mara’s initial separation was due to spatial and temporal factors or deeper, personal issues. As they reconnect, their friendship appears to be moving towards less platonic realms, but their reunion also reveals how their individual egos and insecurities clash, made more complex by the passage of time and previous events. The acting of Campbell and Johnson adds to this discomfort: her tense, anxious energy initially contrasts with his casual humor, but over time, these opposite personas start to irritate each other.

Radwanski’s script is sparse on events, yet the movie, compact at a tense and jumpy 80 minutes, doesn’t need more. This tension maintains it as taut and pressing, similar to an intensely captivating street-watching experience. Nikolay Michaylov’s camera, often restless and intrusively close, is deeply fascinated by human nature itself, constantly observing the protagonists’ responses to minor, everyday realizations and surprises. “Matt and Mara” isn’t a film that encourages you to hope for the success of its titular characters’ relationship, but it’s impossible to stop watching them nonetheless.

Read More

2024-12-28 21:17