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If, as Tolstoy put it, happy families are all alike, that’s probably because they’re opaque to the rest of us, for whom friction and rifts are as much a part of the kindred experience as love. Jesse, the hyper-observant only child at the center of Ricky D’Ambrose’s The Cathedral, takes in all the specifics of his unhappy family — not just his parents’ divorce when he’s 10, not just his father’s ongoing struggles, financial and otherwise, but the awkward silences and generational baggage, the rite-of-passage celebrations straining toward grace. The writer-director-editor’s microbudgeted sophomore film, now streaming on Mubi, juxtaposes remembered interactions and still-life shots with a deliberate, elliptical precision, the minor-key notes building to a chord that resounds with the ache of lost time and unexpressed emotions.
Through the eyes of the filmmaker’s alter ego, an artist in...
If, as Tolstoy put it, happy families are all alike, that’s probably because they’re opaque to the rest of us, for whom friction and rifts are as much a part of the kindred experience as love. Jesse, the hyper-observant only child at the center of Ricky D’Ambrose’s The Cathedral, takes in all the specifics of his unhappy family — not just his parents’ divorce when he’s 10, not just his father’s ongoing struggles, financial and otherwise, but the awkward silences and generational baggage, the rite-of-passage celebrations straining toward grace. The writer-director-editor’s microbudgeted sophomore film, now streaming on Mubi, juxtaposes remembered interactions and still-life shots with a deliberate, elliptical precision, the minor-key notes building to a chord that resounds with the ache of lost time and unexpressed emotions.
Through the eyes of the filmmaker’s alter ego, an artist in...
- 9/16/2022
- by Sheri Linden
- The Hollywood Reporter - Movie News
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