After unhitching her camper at a lakeside in the mountains, Faye finds her rhythm cooking meals, retrieving crawfish from a trap, and scanning her old box radio for a station. She looks expectantly at the approach of a car or the mailman, explaining to neighboring campers that she’s waiting for a childhood sweetheart she hasn’t seen in decades. When he does arrive, Lito and Faye, both widowed, spend an evening reminiscing about their lives, losses, and loneliness. A whimsical romance, Max Walker-Silverman’s captivating debut feature shows an "American West" full of quietude, compassion, and introspection. It’s both naturalistic and vaguely surreal, blurring our sense of time and beauty, loss and vivacity, the grandiose natural world and intimate humanism. Career performances from Dale Dickey and Wes Studi bring an inescapable presence to people we don’t often see portrayed on film. They are gentle outliers possessed of resilience and existential spirit, seeking to process something elusive: a feeling of love for what’s no longer there. Like Faye turning her radio dial, they listen hopefully for the faint trace of a song.
#72nd Berlin#全景+#38th Sundance# 七号营地的等待与重逢 再次上路的自我
风光片，再配两三个呼应，完事。Wes Studi越来越像阿巴多。
自我流放与漂泊的主题，通常都是模糊时间的尺度，导演会放弃时间作为线性模型对主人公生活状态的掌控性。流放不只是在空间上实现远离都市的自由无拘束，更是对现代时间的解放。晚到的信、女孩对四个成年人发号施令，都是导演在主动破坏我们依据时间观念建立起来的常识。她捡起破碎的自己、得以继续走下去的转折点，是在她回顾了四十年前的日子后，决定自己去掌握对未来式的独立期待。整体是个很闭合的故事，很多细节铺垫很动人
规避式煽情-08/20/22 at AMC Palisades 21
太浪漫了！我几乎很少对于如此节奏的电影给予这般盛赞。只因我愿在60岁的时候活成她的样子，一人一车，一湾湖水，一缕薄烟，一张摇椅，一束黄花。不会因世俗与苦恼而放弃幻想，不会为任何人的离去而自怨自艾，自由写实惬意逍遥。「每天晚上都吃一个冰淇淋，看一部牛仔电影，然后活到101岁。」愿她梦想成真！也愿你我，都能拥有心底那一湾属于自己的七号营地！！