During my initial viewing of DROUGHT (I have since revisited the picture) I was overwhelmed by the sheer satisfaction I felt. It isn't flawless, but it's one of the most important films I've seen during the pandemic. Weathering all possible hardships during filming; from a hurricane to a sudden family tragedy, the outcome is mightily impressive and one that all involved should be proud of.
Owen Scheid, an actor on the autism spectrum, debuts with a performance that demonstrates that casting should NOT have boundaries. Nevertheless, the addition of an autistic character was a subtle metaphor for the ignorance of society towards the drought and as social commentary that expands to topics such as climate change. There's a scene whereby Carl's (Scheid) boss explains to Carl's sister, Sam (Hannah Black) that Carl "cannot be on the premise unless he's shopping." A tragic line that gripped my throat. Discrimination and thoughtlessness existing to maintain the status quo. This is why Sam agreeing to follow Carl, as they run towards a storm is a beautiful narrative. It displays the thickest of skin and the strongest bond. It also illustrates the innocence of Carl to see beauty and method in the madness.
Naturally, this brings me to Black's unbelievably mature performance as she overcompensates for Carl's aforementioned inadvertent foibles by building an impenetrable outer shell that seeps raw emotion as she reveals nuanced signs of vulnerability.
As the narrative unfolded it became apparent that the troubles of each character were identified. During these moments the road trip becomes a form of therapy. The writing is intelligent; not forcing conflict but rather progressing it organically through communication, as each character begins to become comfortable and air their grievances. Again, this is an example of Carl's honesty becoming a necessity as the dialogue cuts through the claustrophobia developing within the van. I felt as though I had more air to breathe as it became clear.
The true genius of the screenplay is balancing the distress with the tenderness and providing them in equal measure, ensuring that neither ever take precedence over the other. I compare this to the work of John Hughes in the classic PLANES, TRAINS AND AUTOMOBILES (1987) and more recently THE PEANUT BUTTER FALCON (2019). I'm not saying that DROUGHT is as refined but its merits shouldn't be ignored. I do hope this film finds the audience it deserves. I digress... The introduction of Lillian (Megan Petersen), sister of Sam and Carl and Lewis (Drew Scheid) make this possible.
Petersen gives Lillian the characteristics needed to counter Sam's hostility. Without wishing to spoil the narrative, Lillian's calm approach offers a platform from which she and Sam can bounce off one another, portraying seemingly natural chemistry. It could be argued that their relationship is the spine of the screenplay.
As I sat down to write this review, I mulled over why I attached myself to this picture so gleefully? "Gleefully?" I thought. It occurred to me that I felt the presumed enjoyment that went into filming DROUGHT.
I could visualize myself sat at the back of the van as the ice cream van jingle chimed merely. This film doesn't take itself too seriously but simultaneously delivers a punch when needed. I always maintained a sense of pleasure that went into the project. I got the impression that there was no chance of anyone involved contributing to a lacklustre picture.
This is exemplified by Lewis, whose cheeky and energetic nature fits perfectly as the final piece of the jigsaw.
Without having visited any small towns in North Carolina I'm not in a position to comment on how adequately they have been represented. Though, what I can confirm is that I took away a sense of normality and fortune. How within the most ordinary environment, the most ordinary group of characters can produce a heartwarming tale that is about nothing other than finding beauty in life.
Owen Scheid, an actor on the autism spectrum, debuts with a performance that demonstrates that casting should NOT have boundaries. Nevertheless, the addition of an autistic character was a subtle metaphor for the ignorance of society towards the drought and as social commentary that expands to topics such as climate change. There's a scene whereby Carl's (Scheid) boss explains to Carl's sister, Sam (Hannah Black) that Carl "cannot be on the premise unless he's shopping." A tragic line that gripped my throat. Discrimination and thoughtlessness existing to maintain the status quo. This is why Sam agreeing to follow Carl, as they run towards a storm is a beautiful narrative. It displays the thickest of skin and the strongest bond. It also illustrates the innocence of Carl to see beauty and method in the madness.
Naturally, this brings me to Black's unbelievably mature performance as she overcompensates for Carl's aforementioned inadvertent foibles by building an impenetrable outer shell that seeps raw emotion as she reveals nuanced signs of vulnerability.
As the narrative unfolded it became apparent that the troubles of each character were identified. During these moments the road trip becomes a form of therapy. The writing is intelligent; not forcing conflict but rather progressing it organically through communication, as each character begins to become comfortable and air their grievances. Again, this is an example of Carl's honesty becoming a necessity as the dialogue cuts through the claustrophobia developing within the van. I felt as though I had more air to breathe as it became clear.
The true genius of the screenplay is balancing the distress with the tenderness and providing them in equal measure, ensuring that neither ever take precedence over the other. I compare this to the work of John Hughes in the classic PLANES, TRAINS AND AUTOMOBILES (1987) and more recently THE PEANUT BUTTER FALCON (2019). I'm not saying that DROUGHT is as refined but its merits shouldn't be ignored. I do hope this film finds the audience it deserves. I digress... The introduction of Lillian (Megan Petersen), sister of Sam and Carl and Lewis (Drew Scheid) make this possible.
Petersen gives Lillian the characteristics needed to counter Sam's hostility. Without wishing to spoil the narrative, Lillian's calm approach offers a platform from which she and Sam can bounce off one another, portraying seemingly natural chemistry. It could be argued that their relationship is the spine of the screenplay.
As I sat down to write this review, I mulled over why I attached myself to this picture so gleefully? "Gleefully?" I thought. It occurred to me that I felt the presumed enjoyment that went into filming DROUGHT.
I could visualize myself sat at the back of the van as the ice cream van jingle chimed merely. This film doesn't take itself too seriously but simultaneously delivers a punch when needed. I always maintained a sense of pleasure that went into the project. I got the impression that there was no chance of anyone involved contributing to a lacklustre picture.
This is exemplified by Lewis, whose cheeky and energetic nature fits perfectly as the final piece of the jigsaw.
Without having visited any small towns in North Carolina I'm not in a position to comment on how adequately they have been represented. Though, what I can confirm is that I took away a sense of normality and fortune. How within the most ordinary environment, the most ordinary group of characters can produce a heartwarming tale that is about nothing other than finding beauty in life.
