The Unseen Movie Review

We Don't Live Here Anymore

Whereas the other film focussing on the troubles of married life released this month, Mr And Mrs Smith, sees the spouses start resolving their difference with over-the-top guns, explosions and stunts, this look at the simultaneous breakdown of two couples is a rather more sombre and serious affair.

The Lindens (Mark Ruffalo and Laura Dern) and the Evanses (Peter Krause and Naomi Watts) are close friends, all frustrated with both their personal and professional lives in their small New England town. And so begins a wonderfully realised exploration of the tensions and difficulties of any close mixed-sex friendship, as feelings of companionship and matey closeness become confused and confusing. The basic premise may initially sound uninteresting, but with a cast like that you know this is likely to be something special.

Director John Curran manages to bring out the very best in his excellent cast, drawing out the humanity and compassion behind a tale of marital strife which could, with less subtle talents behind it, easily seem cold and alienating. The sheer likeability of all involved quickly draws the audience in, as small town life is perfectly created – along with all the little secrets behind closed doors.

The two couples, both sets of husband and wife still deeply in love despite their frustrated ambitions, become blurred. Their friendships lead to heart to hearts which lead, as these things are sometimes wont to do, to infidelity – but an infidelity where neither party really wants to leave or hurt their long-term partner while still not being able to stop.

It seems odd that a film revolving around such a disheartening subject as extra-marital affairs and romantic anguish can remain so sweet and engaging. This is in large part why it works so very well. Unlike in most other cinematic portrayals of relationship breakdowns there is no one to hate, no one to blame. As in life the motivations of all parties are clearly understandable and fully sympathetic.

As such, it must rank as one of the most interesting and best explorations of love American cinema has yet produced. Already dubbed “the best American movie so far this year” by The New Yorker on its US release last August, many critics were rightly surprised that it was overlooked by the Oscars. The fact that it didn’t receive any nominations is a genuine injustice – this is a beautiful, intelligent and deeply engaging film based around a quartet of masterly character studies from its stars, and a worthy escape from the blockbusters that are currently dominating the multiplexes.

posted by Nosemonkey @ 12:00 AM