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Certain Women (2016)
Directed by: Kelly Reichardt.
Written by: Kelly Reichardt based on the stories by Maile Meloy.
Starring: Laura Dern (Laura), James Le Gros (Ryan), Jared Harris (Fuller), Ashlie Atkinson (Secretary), Guy Boyd (Personal Injury Lawyer), Edelen McWilliams (Fuller's Wife), John Getz (Sheriff Rowles), James Jordan (Hostage Specialist), Matt McTighe (Officer Tommy Carroll), Joshua T. Fonokalafi (Amituana), Michelle Williams (Gina), Sara Rodier (Guthrie), Rene Auberjonois (Albert), Lily Gladstone (The Rancher), Kristen Stewart (Elizabeth Travis).
The third story of Kelly Reichardt’s Certain Women tells is perhaps the best thing she has ever directed – and brings out the absolute best in her as a filmmaker. It is subtle, and heartbreaking, and ends on an absolute perfect note and is brought to life by two great performances – one by Kristen Stewart, and the other by Lily Gladstone, in what is really one of the decades finest turns. The other two stories in Certain Women work as well – and Reichardt was smart enough to know which story to end on – but they just aren’t quite as perfect as that final one.
The first story stars Laura Dern as a lawyer, who is having an affair with Ryan (James LeGros) and is getting fed up with her most annoying client – Fuller (Jared Harris). Fuller was injured on the job, clearly because of his company’s negligence, but he already settled with them, for next to nothing – so as she has explained to him for six months, he cannot sue them. She finally relents, and takes to another lawyer – a man – who tells him the same thing, and he finally listens. What follows is a lowkey hostage situation.
The second story is about Gina (Michelle Williams), who wants to get a lot of old sandstone from an old local man, Albert (Rene Auberjonois) – who has been holding onto those stones for decades, always
planning to do something, and never getting around to it. She is building a new house with her husband – Ryan, the man having the affair with Laura Dern, which never comes up in this segment, but our knowledge of it casts a shadow over this segment – this marriage is not solid right now. The heart of this segment is a long conversation the three of them have – one where Gina does all the talking to the couple, but Albert directs every reply to Ryan.
Then comes the third, perfect segment. Lily Gladstone plays a rancher, who drifts into town one evening and ends up in a classroom, where Elizabeth (Kristen Stewart) is teaching a class on school law to a bunch of teachers who clearly want more specifics on how they can get more money, or better parking, than what Elizabeth has to teach. Elizabeth has a long drive – four hours each way - that she to take the two nights a week she teaches the class. She and Gladstone start heading to the local diner after each class – where Elizabeth talks about her life, and Gladstone gladly listens. There may be romantic interest there – on Gladstone’s part – but she’s too shy to say anything, although a romantic horse ride one day is a high point. And then, one day, Elizabeth is not there in class – she has been replaced.
The first two segments in the film are clearly about lowkey, understated sexism, and how the women in it just have to deal with it and move on. This is Wyoming after all and complaining isn’t going to get anything done. Dern is excellent in her role – an overworked woman who doesn’t see, or doesn’t care, how desperate Fuller is. Harris is also excellent in his role – he’s the typical “nice guy” with seething resentment underneath. The second segment is probably the weakest – Williams is typically excellent, but this segment is more about the regret of Albert than anything else – and more than anything, just kind of stops, rather than ends.
But that third segment is a doozy. It is Reichardt at her very best. A short story where nothing is said aloud, outright – and yet everything is crystal clear. The last scene between Stewart and Gladstone is heartbreaking in its awkwardness – and then comes the best scene Reichardt has ever directed – the long scene of Gladstone in her truck, all by herself. It’s masterful
And to be honest, the movie probably should have ended there. The film flashes back and shows us a coda for all three segments after that scene – codas that in regards to the first two should have just been included in the stories in the first place, and for the third isn’t necessary at all. They’re good scenes – but had you left the theater right after Gladstone the ending would hit harder.
In all though, Certain Women is another subtle triumph for Reichardt. It shows her at her very best in that third segment – and near her best with the other two. It’s a film that doesn’t explain, doesn’t underline – just subtly shows you just what these women are going through. More often than not, these kind of movies, a series of shorts, don’t work this well – and even if one of the stories is clearly the best, all three still work.
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