That's the center of this film's world, the world of the mystical Shefox. But Sayles takes us into Noelle's diary world. That would be enough given this level of craft. TRANSPORTING: Alaskan wilderness as theme park where stories are safely refined for casual visitors. It takes craft to do this in the written word, and is extremely rare using the more intimate but external and slippery experience of cinema. A masterful storyteller teases but plays by the rules, allowing the reader to take risks. Sayles knows in real storytelling, there's a game between teller and listener, each trying to outwit the other. Then narrative commitments are made before you are ready, and then come faster and more unexpectedly until the very gutsy end. We have a dramatic pacing which starts slow, sets a lot of potential threads and convincingly fools you into relying on certain expectations. We have long panning multithreaded scenes. We have overlapping dialog, overlapping cuts, multiple views of the same scene. This camera is literally introduced as a character when noelle offers it an `hoordoov.' The camera participates, the lights participate. This is theater completely recast for the unique strengths of film, and only possible when the same person writes, directs and edits. Among them are: -daring use of the cinematic medium -transporting me to a conceptual space that I otherwise wouldn't have experienced -self reference CINEMATIC: Sayles is a storyteller, who thoroughly understands what it means to build a narrative scaffold using film. What I look for is a few things, that if done well will really satisfy. I don't know all of Sayles work, but I plan to. As usual, the film is written, directed, and edited by John Sayles himself. A John Sayles fan MUST-SEE, or anyone who's ready for a different movie and a change of pace. This is not an easy film to consume - it provides mind probing and requires reflective thinking. The segment by the campfire where she reads from a diary book, her subtle expressions and poignant portrayal complete this triangle of complex emotional cauldron a-brewingÂ…yet she held her own in capturing our attention on her touching delivery. Vanessa Martinez played the teenage daughter and what a superb performance - hers is no easy role. There is mother and daughter tension at play here. He is in the male lead role and as expected, a quiet sensitive delivery of his character as a fisherman incognito. She did a terrific job - she sings so well that it sounds like Judy Collins at times! David Strathairn, for once, is not in a supporting role. She gets to demonstrate what a wonderful singer she can be. Mary Elizabeth Mastrantonio, as always, a tour de force. Here, graphic detail shots are included on fishing, informing us of the intricacies involved - it's Sayles ingredients to the core. In LIMBO, photography is skillfully delivered by veteran cinematographer Haskell Wexler (the unforgettable "Medium Cool" 1969, which he also wrote and directed "The Thomas Crown Affair" 1968 with director Norman Jewison two with Sayles: "Matewan" 1987, "The Secret of Roan Inish" 1994). Sayles fans know it will not be a boring journey - life lessons will be assimilated. It's another multi-character study, and Sayles is very good at telling the story and providing the different premises and details in a seemingly casual manner. Nothing spectacular (yet it is quietly spectacular). John Sayles gives his insightful subtle approaches to another aspect of life and living, of ordinary people tackling everyday encounters and challenges. There are no easy answers or solutions to the questions raised or problems illustrated. Once again, as do all John Sayles films, this is no Hollywood fare.
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