My Blind Brother

(USA 2016)

Robbie (Adam Scott) and Bill (Nick Kroll) are brothers. Robbie is an overachieving athlete—attractive, admired, and blind. He’s also kind of a dick in private. Bill dutifully assists Robbie with his athletic endeavors, holding a string to guide him as he runs marathons and rowing in front of him with a blowhorn as he swims. Admittedly lazy, Bill fantasizes about being disabled and having everyone wait on him while he watches TV all day.

WARNING: Potential spoilers ahead!

One night while their parents are fawning over Robbie after a race, Bill goes out by himself for a drink at a local bar where unbeknownst to him a memorial is being held for a guy who was killed when a bus hit him. Bill meets Rose (Jenny Slate), who’s crying because she feels guilty about it—she dumped him right before it happened. They introduce themselves: she’s a “superficial narcissist” and he’s “lazy and judgmental.” They talk, and she tells him she wants to be a better person—maybe helping baby elephants in Africa or something. Rose ends up going home with Bill. In a very uncomfortable scene, she extricates herself from his room and takes off the next morning, roughly declining Bill’s request for her phone number.

Soon after, Robbie hooks up with a volunteer to help him with swimming, something Bill doesn’t want to do. Turns out, there’s a spark between Robbie and this volunteer—who Bill discovers is Rose.

Writer and director Sophie Goodhart does a capable job on both fronts, even if My Blind Brother takes a little while to get its stride and feels a bit like a TV show. The story moves steadily once it gets going, though the ending is predictable—including its reveal of how Robbie lost his sight. There are more than a few genuinely funny moments here. I love that all of the characters are detestable, or at least nothing to aspire to, for one reason or another—even Robbie, who from an outside perspective seems inspirational with his fundraising through athletics. It doesn’t take long to see that he’s lame, right down to the same flimsy joke about looking beautiful that he repeats to every woman (because he’s blind and can’t see, get it?). Slate does neurotic frazzled really well. Charlie Hewson as blind stoner GT and Zoe Kazan as Rose’s quick and loyal but cynical roommate Francie both add a breath of fresh air. Filmed in and around the West Side of Cleveland, Ohio—where I grew up—I immediately noticed exterior shots in Tremont, Lakewood, and I’m pretty sure Rocky River.

85 minutes
Rated R

(Facets) C+

A Married Woman [Une femme mariee]

(France 1964)

The original show about nothing, A Married Woman walks us through fragments of a day in the life of Charlotte (Macha Méril), a young wife torn between two lovers: her practical husband (Philippe Leroy) and her passionate, intellectual paramour (Bernard Noël). Apparently not in a hurry to choose one over the other, she’s thrown into a pickle when her doctor informs her she’s pregnant and she realizes that she doesn’t know which one is the father.

Heavy on closeups and dialogue, A Married Woman is thoroughly Modernist: more a treatise than a story, it delves into subjects like relationships, love, sex, morality, and the differences bewteen men and women through conversations that are practically interviews. Jean-Luc Godard stated that this film “attacks a certain mode of life; that of air conditioning, of the prefabricated, of advertising.” His sentiment is evident in all three yuppiesque main characters: they seem detached and adrift, oblivious to the impact their actions have on those around them. A Married Woman is sensual but not sexy, intimate but not warm, critical but not exactly moralistic, and clever but not always interesting.

It’s not all dour, though. Rita Maiden as the couple’s chatty housekeeper adds a priceless air of levity. A scene revealing Charlotte’s thoughts as she eavesdrops on two girls discussing sex at a cafe is hilarious if kinda mean. Gorgeous shots of midcentury Paris play like moving postcards. The little stuff here kept me engaged. I appreciate what Godard was getting at, but I found his execution ultimately underwhelming.

(Gene Siskel Film Center) C+

http://en.unifrance.org/movie/5416/a-married-woman