Sundance 2020 - To the Stars
SUNDANCE 2020As far as homages go, To The Stars is not a particularly subtle one; if one glances at the synopsis and poster of Martha Stephens’s new film, what immediately springs to mind is The Last Picture Show. 1950s Texas was the breeding ground for Peter Bogdanovich’s group of misfits; similarly, Stephens uses 1960s Oklahoma to tell a tale of shackled lives within expansive landscapes.
Iris Deeborne (Kara Hayward) is the fish out of water here: an introverted girl who lives under the thumb of an alcoholic mother and cold father, while being the subject of much ridicule at school. After a run-in with some sexist male students, she meets a lively city girl Maggie (Liana Liberato), who is continuously relocating due to her father’s work. They gradually bond over time, sneaking off to the local lake to cleanse themselves of the filth that surrounds them.
Since its premiere at Sundance last year, Stephens has decided to ditch the initial black-and-white photography; this is a wise decision that showcases the natural beauty of the landscapes. Andrew Reed’s clean cinematography bolsters the brilliant choices of music and careful production design. There is a summer glow permeating this film, which serves as a neat juxtaposition to the dark attitudes that reside there.
While Stephens successfully recreates the retro style, the screenplay by Shannon Bradley-Colleary feels old-fashioned in all the wrong ways. Though some characters are promising in the beginning, they never really transcend their designated archetypes; the sassy bully, ditzy sidekick and nice boy-next-door merely support Iris’s personal growth, and don’t feel like real people. Liberato is the standout presence, with Maggie adding some much-needed vibrancy. The film, however, fails her completely, reducing her sexuality to a plot device that only exists to provide unnecessary tension.
Given how formulaic the template is, it should not come as any surprise that the film strays into melodrama; it, nevertheless, feels at odds with the sedate nature of the first act. As the drama kicks in, certain characters are left by the wayside; Shea Whigham is given next-to-nothing to do as Iris’s father, while Adelaide Clemens’s Hazel could use much more screen-time. Instead of maintaining the focus on the minutiae of rural life, To The Stars abruptly motors to its destination. Given that the script had been gestating for 20 years before filming began, it is a shame the bumps have not been ironed out.
To The Stars is a film that fails to capitalise on its promising opening passages, veering off into directions that feel forced. Not every film has to reinvent the wheel, but with recent films like Call Me By Your Name and Princess Cyd treating ageing and sexuality so well, this cannot help but feel a little tired. In its effort to depict simpler times, To The Stars ends up feeling basic.