HIT THE ROAD (B+) - This impressive debut feature from the son of a legendary Iranian filmmaker plays a bit like a debut from the son of an acclaimed director. It's a bit indulgent though sharply written and observed, perhaps on a par with the early next-gen output of someone like Roman or Sofia Coppola.
Panah Panahi -- the son of Jafar Panahi ("Jafar Panahi's Taxi") -- takes an economic approach to narrative and visual storytelling. He tells the story of a family road trip, with the older son at the wheel, driving his parents and obnoxious little brother to an unnamed destination where (for mysterious reasons) the young man will be handed off and secreted over the border out of Iran. Dad in the backseat, a large cast on his leg, is alternatively grumpy and jocular. Mom, riding shotgun, projects calm and wisdom. The little brother -- an obvious surprise gift to the older couple who didn't plan to have another child -- provides most of the comic relief (if you can stand that sort of thing) as a super-smart wise-ass. ("That little devil is cute," as they say in the trailer.)
A bicycle racer joins their journey -- they had side-swiped him and offered him a ride. There are a couple of other planned and unplanned stops along the way. This is a shaggy story, and Panahi's facility with writing dialogue is his greatest asset here. And some visuals are truly inspired -- notably, the family dog running down the road with a leash and plastic chair bouncing along in its wake.
But even at 93 minutes, Panahi could have used a sharp editor. He repeats good ideas too often -- such as the mother singing along to the car stereo. And several false endings get frustrating. This is an imperfect work, but it can be thoroughly satisfying overall.
THE GIRL AND THE SPIDER (B) - Most of the time I wasn't sure exactly what was happening in this quirky relationship dramedy, but it has a unique voice and visual style, brought home by a winning cast. This sophomore effort from twin writer-directors Ramon and Silvan Zurcher ("The Strange Little Cat") is a rich challenge of storytelling.
Lisa (Liliane Amuat) is moving out of the apartment she shares with her lover, Mara (a haunting Henriette Confurius), and this intimate movie shows the mundane mechanics of the hefting of boxes and the carting of furniture over the course of two days. Mara refuses to let Lisa off the hook too easily. Surrounded by friends and Lisa's family, Mara challenges Lisa to confront the raw emotions of the breakup. (It's not entirely clear if the whole relationship, or just the cohabitation, is fully ending.)
That sounds simple, but the elliptical devices employed here are what make a movie in which so little seems to happen seem so compelling. Characters often speak in riddles or parables. Various hookups occur, either attempted or consummated. Lisa's married mother (Ursina Lardi) pines after the movers' supervisor. Mara's older neighbor sees an opening and hits on Mara.
Beyond that, it's difficult to convey the appeal here. A lot of it is mood. There is something entrancing about watching Mara curl up in a window frame and smoke as she lazily watches the world below. The Zurchers close out each act -- the first at the old apartment, the second at Lisa's new one -- by pausing and letting their camera take an inventory of random objects that had had minor roles in the previous scenes. It's an effective palate-cleanser and a clever way to make the viewer take a breath and think about what might come next.
Often I was a little anxious trying to keep track of all the characters (too many of the young women look similar) and make sense of the monologues. But I eventually capitulated and adored this arty slice of life.
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