Anne at 13,000 Ft. (2019, Kazik Radwanski)

At least Anne is Deragh Campbell, otherwise I would’ve lost all patience with her. Childish and giggling too much, she works at a preschool where the kids like her because she’s one of them. She manages to meet a grown-up named Matt (Johnson of The Dirties and Blackberry), but plays a “joke” while taking him to meet her parents, falsely announcing that they’re getting married. Nice ambiguous ending, her first solo skydiving trip after she’d been acting increasingly erratic.

I thought it’d be nice to watch a skydiving movie on a plane, and the best part was pausing to explain to the curiously concerned guy next to me the concepts of non-streaming video (how can movie exist without internet) and of indie cinema (he thought it was some kind of Deragh Campbell livecam).

Josh Cabrita in Cinema Scope 80:

So as to even further distanciate the viewer’s perspective of Anne’s life from her own view of these same events, Radwanski continually constructs his scenes around missing or partial information … As in Radwanski’s previous films, the close-up is never a window into a subject’s soul, and possesses no exploratory power. Instead of being a lugubrious exercise in the most facile form of humanist filmmaking – a limited register wherein all that matters is the director’s and viewer’s supposedly generous response to an apparently difficult person – Anne takes a purely external viewpoint that allows for the contemplation of various surfaces.