Reviewed on February 22nd at the 2024 Berlin International Film Festival – Panorama. 113 Mins
Cast: Julianne Nicholson, Zoe Ziegler, Elias Koteas, Will Patton and Sophie Okonedo
Genre: Drama
Director: Annie Baker
In Irish Cinemas: 2nd August 2024
In the summer of 1991, in rural Massachusetts, three visitors weave their way into the lives of single mother Janet (Julianne Nicholson) and her reclusive eleven-year-old daughter Lacy (Zoe Ziegler) just before Lacy enters sixth grade. The newest release from the acclaimed US studio A24, Janet Planet, explores the nuanced and evolving relationship between mother and daughter. Following in the footsteps of last year’s award-winning “Past Lives” from playwright-turned-director Celine Song, Janet Planet marks Pulitzer Prize-winning Annie Baker’s debut in film direction. The narrative, structured into four distinct chapters marked by title cards, revolves around the interactions between Janet, her daughter Lacy, and three key figures: boyfriend Wayne (Will Patton), old friend Regina (Sophie Okonedo), and theatre troupe leader Avi (Elias Koteas). These characters drift in and out of Janet’s world, their encounters predominantly seen through the eyes of the reflective and imaginative Lacy. As Lacy navigates the long, hazy summer, she strives to capture her mother’s attention while grappling with her sense of direction and identity.
Baker effectively captures a specific moment— the seemingly endless and hazy summers of childhood — infused with a distinctive ‘90s nostalgia, evoking memories of bouncy balls, troll dolls, and landline telephones. We observe extended sequences highlighting Lacy’s aimlessness, such as practising piano on her keyboard, watching her meal cook in the microwave, trying Regina’s shampoo in the shower, and playing with her quirky doll collection. Much like Baker’s stage plays, “Janet Planet” is introspective and characterised by a distinct lack of conflict and drama. The film’s pacing is sometimes frustratingly slow, reminiscent of the slice-of-life approach in Kelly Reichardt’s observational works. Like Céline Sciamma’s “Petite Maman” and Charlotte Wells’ “Aftersun”, Janet Planet explores the bittersweet experience of recognising a parent as a complex individual with flaws and imperfections. Lacy’s adoration for her mother gradually evolves from idolisation to this nuanced understanding. However, the film lacks the emotional impact of Wells’ debut or the magical realism of Sciamma’s latest feature. Instead, it dwells on the mundane aspects of everyday life for most of its nearly two-hour runtime, relegating the exploration of the mother-daughter relationship to their open and honest late-night conversations.
In a pivotal moment, Lacy remarks with a hint of irony, “Every moment of my life is hell… but I don’t think it’ll last, though.” Meanwhile, Janet unexpectedly admits, “I’m pretty unhappy too.” Nicholson and Ziegler deliver powerful, nuanced performances, vividly portraying a profound loneliness. Janet also exudes an unspoken disappointment that adds depth to her character. These quieter moments reveal how their seemingly co-dependent relationship has hindered their ability and opportunities to engage socially, underscoring each character’s emotional isolation.
Maria von Hausswolf’s exquisite cinematography vividly captures the nostalgic charm of a summer vacation and the beauty found in everyday moments. Her natural lighting in and around Janet’s serene woodland home brings these scenes to life. The grainy texture of the 16mm film adds a layer of authenticity, reminiscent of childhood home videos, and enhances the nostalgic atmosphere. Paul Hsu’s meticulous sound design immerses the audience in this remote setting, amplifying the diegetic sounds of birdsong and chirping crickets to an almost oppressive degree. This soundscape mirrors Janet’s growing sense of being overwhelmed by Lacy’s clinginess. Director Annie Baker subtly portrays the shifting emotions in the mother-daughter relationship, capturing their evolving dynamic with sensitivity. This gentle and intimate coming-of-age drama marks Annie Baker’s assured, though occasionally slow-paced, directorial debut. Known for her acclaimed work as a playwright, Baker successfully evokes the bittersweet nostalgia of pre-teen girlhood in the ‘90s, creating a poignant and reflective film.
Overall: 7/10
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