Fast Color Review:
Describing important issues (ecological devastation and woman-front superheroes) in a human-scale story, director Julia Hart’s new film offers much to appreciate. Fast Color comes down to the basics, with just a handful of characters, as it combines several genre tropes into a quiet dystopian story with touches of sci-fi magic. Writing with her producer husband, Jordan Horowitz (The Land), Hart has created a story of matriarchal heritage, but whose ferocious message is weakened instead of deepened by the clarity of her children’s book. The intriguing configuration receives a low-power performance, the expected shocks land too smoothly.
After the opening of the road-movie sequences, the drama becomes a story here, it is unpleasant for Ruth of Gugu Mbatha-Raw, who lived a difficult life on the run, trying to escape not only from the warning others, but the consequences of their own superhuman powers. His story is set in an indeterminate band of the United States. UU. (The film was shot in New Mexico) and is imbued with a vision of the American retro (motels, dinners, jukeboxes) that is destined to be disturbing, but which feels directed by trendy art. T rustic, although atmospheric filmed by DP Michael Fimognari (The Haunting of Hill House). In the midst of the conscious variety of objects, the world dies after eight years of drought, an unknown year that rings in the late twentieth century or early twenty-first century (there are landlines and answering machines, but no phones mobile). )
The story begins with Ruth’s desperate escape in the middle of the night as slavery. There is some mystery and tension in these early scenes, and Rob Simonsen’s expressive score indicates a fit, but even then, the sweetness that will prevail in Fast Color is filtered through the procedures. Shortly after Ruth’s arrival at a motel, where a carafe of precious water costs almost as much as the room itself, its uncomfortable power is revealed. Whether it is an emotion or a knowledge or something unspeakable, it presents itself as a crisis that causes a hyperlocal earthquake. The earthquake provokes the insidious concern of a government scientist, Bill (Christopher Denham), and sends a reluctant Ruth to the home of her childhood, an isolated farmhouse where she can escape detection but not pain, thus showing the appearance of his mother. Bo (Lorraine). Toussaint) and Lila (Saniyya Sidney, from The Passage), the girl she barely knows. With the federal agents in Ruth’s footsteps, the sad local sheriff (David Strathairn), whose role in the saga is clearly telegraphed before finally being “revealed”, is actively interested in his security.