Coming-of-age motion pictures are inclined to comply with the identical patterns. Over the course of a college yr (or a summer time), a youngster assesses their relationships. There are breakups, makeups, and a climactic ceremony of passage. The hormonal depth of adolescence feels epic, like a saga of triumphs and failures en path to maturity.
Good One, a deceptively easy Sundance gem simply launched in theaters, depicts all of that emotional chaos in simply three days, in the midst of the woods. Its protagonist, 17-year-old Sam (performed with exceptional precision by newcomer Lily Collias), is about to go to varsity, however she’s not stressing out about her subsequent chapter. As a substitute, she’s occurring a backpacking journey along with her father, the anxious and self-absorbed Chris (James Le Gros), and his previous buddy Matt (Danny McCarthy), a latest divorcé who on the final minute fails to influence his teenage son to tag alongside on the tour as deliberate. An skilled camper, Sam takes the change in stride, spending a lot of the weekend—and the film’s 90-minute run time—observing and humoring the middle-aged males. She’s the titular well-behaved little one; she might chafe on the approach Chris and Matt bicker and banter, however she’s happy with being so useful and understanding.
After which the movie pivots, so barely that it’s nearly imperceptible at first. On the finish of an extended day, sitting by a campfire after Chris has had one too many drinks and gone to mattress, Matt casually invitations Sam into his tent, a comment that could possibly be thought of a joke. But it turns into an inflection level for Sam—a second throughout which she begins to register the best way her identification as a younger, attentive girl impacts how she’s seen. The movie’s writer-director, India Donaldson, advised me she by no means considered Good One, her first function, as a typical coming-of-age venture; it was extra a possibility to seize a sense she skilled usually in her teenage years and early 20s. She spent her summers backpacking along with her father and grew up being labeled the “good one” in her blended household, cautious to make sure peace and supply emotional assist at each flip. “I used to be … desperately desirous to be taken severely,” she defined. “After which the sensation if you suppose you’re in dialog with … somebody in your life you actually suppose is listening to you and considering you and understanding you, after which they are saying or do one thing that simply slices via the entire issues … Disappointment is the sensation. And disgrace.”
The result’s a movie that explores the emotional actuality of building boundaries, a vital step within the journey to maturity, with uncommon specificity. Scenes might echo coming-of-age tropes—Sam encounters hikers nearer to her age, offers along with her interval, and argues evenly along with her father—however a lot of the story follows Sam making an attempt to know what occurred by the campfire. “I knew that it was not the kind of film the place these folks would be capable of confront something head on,” Donaldson advised me. As a substitute, Good One exhibits that rising up can start with a single dialog that illuminates, for somebody like Sam, how far she has left to go.
As a pivotal however unshowy sequence, the campfire scene required fine-tuning at each stage. Whereas writing the script, Donaldson labored towards constructing a second that felt definitively odd, however by no means sinister or bodily aggressive. Whereas filming the scene over two nights, Donaldson requested McCarthy to range the place he appeared when he spoke; the route of his gaze modified how she as a viewer felt about Matt. And within the enhancing bay, she and the movie’s editor examined their responses to every shot, enjoying with how lengthy the digicam lingered on every character’s expressions. “We undoubtedly agonized over many particulars,” Donaldson defined. Body by body, she mentioned, “it simply got here right down to … What feels just like the deepest intestine punch?”
That meticulousness solely works as a result of the movie research Sam’s 50-something companions via the various, many conversations they’ve as they trek via the woods. Matt makes the sort of small speak that indicators his worry of being alone together with his ideas. Chris appears unable to ship something in a non-passive-aggressive tone. Good One is immersive, mixing pure sounds—flowing water, chirping birds, buzzing critters—into the dialogue till the lads’s exchanges develop into part of the soundscape to Sam, a part of the “floor,” as Donaldson put it, of her expertise. Each of them deal with her like a child and an grownup; Chris refuses to let her drive one minute, then wants her to easy out an issue at work for him the following, whereas Matt alternates between sarcastically marveling at her “knowledge” and asking for her trustworthy opinions. Sam’s few, bemused interjections and quiet actions convey the gendered essence of her position: She cooks dinner, cleans up their campsites, and helps Matt arrange his tent with out being requested. The movie means that this dynamic doesn’t hassle her; she’s been conditioned to search out all of this regular.
The lads’s silence within the closing act, then, speaks volumes. Matt by no means talks once more within the movie after the campfire scene; Donaldson mentioned she needed it to look as if, in his embarrassment, he “sort of ejects himself from the story.” Chris, in the meantime, says little however begs Sam to attempt to “simply have a pleasant day” after she confides in him—a dialog Donaldson mentioned feels extra important than the one which set off Sam’s alarm bells, as a result of Sam lastly grasps that these adults round her don’t have solutions or the braveness to offer them. They’ve upset her, but they’re additionally extra misplaced than she’d realized. “I didn’t need the viewers to detest or despise them an excessive amount of,” Donaldson mentioned, including that Le Gros helped minimize among the further dialogue she had initially written for Chris. “It was clear how little wanted to be mentioned to have most affect,” she mentioned. “I did need to permit some area for the viewers to … perceive the place he’s in, how exhausting it’s to say the best factor.”
After all, Sam might by no means hear the best issues. After trying to talk along with her father, she fills the lads’s backpacks with rocks—a small insurrection she will be able to play off, like Matt’s remark, as an unfunny joke—and spends time alone climbing via the woods and gazing on the surroundings. Most coming-of-age movies dole out tidy life classes for his or her protagonists, however Good One exhibits the messiness of gaining perspective. By the ultimate scene, Sam is able to let go of her must be the “good one,” although it’s unclear how she’ll change—or whether or not that’s totally attainable round Chris and Matt. “In actuality,” Donaldson identified, “she’s nonetheless who she is on the finish.” However like all teenager getting ready to maturity, she’s nearer to understanding who she will be able to develop into.