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Monday, June 18, 2018
MOVIE REVIEW/"Nancy"
When Image Isn't Everything But Deception Is
![](../nancy.jpg)
Andrea Riseborough as the title character in Christina Choe's drama "Nancy".
Samuel Goldwyn Films
by
Omar P.L. Moore/PopcornReel.com
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Monday,
June 18,
2018
Ah, those pesky comedy and drama masks! Both are on full display in
"Nancy", only politely if barely submerged by forced smiles, skepticism and
denial. Tragicomedy is the middle name of Christina Choe's haunting film
-- emphasis on comedy. There's not a single moment in "Nancy" where anyone
laughs as I recall, but facial gestures are grand levity in this sometimes
unsettling experience.
As "Nancy" begins a grainy home video of a child unspools. Who is the
child? Whose video is it? The most noteworthy thing about this
intimate 87-minute exercise are the actors' facial expressions, especially
pronounced in this journey of Nancy (Andrea Riseborough), who is an isolated
figure. Nancy, with invisible hand on heart, insists she's been to North
Korea -- and by golly she has the photos to prove it, Photoshop be damned.
"Nancy" is about many things including image and imagery, perception -- how they
are constructed -- and by whom. Ms. Choe's art is serious but its
participants are subversive players in a peanut gallery made for laughs.
"You're sick!'" cries one anguished character. "How did you get inside
North Korea?" queries another. Everyone, from Nancy (Ms. Riseborough
is riveting here) to Jeb (John Leguizamo), a man she befriends online, to Leo
(Steve Buscemi), whom she meets later on, wears skepticism, awkwardness and
doubt like an oversized overcoat of armor. I waited for any of them to
burst out laughing. Only their tight facial expressions prevent them from
doing so.
Ms. Choe's film is buoyed only by the fine acting of J. Smith-Cameron, who plays
the mother of a daughter who has been in the news on and off for many years.
It is with her that "Nancy" provides something of a gaslighting or Rorschach
test. Even the above photo in this review -- at least I thought this at
first -- contains what looks like a sideways eyeball on the left-hand side (your
right side) of Ms. Riseborough's face. Take a look now.
More than anything, "Nancy" is a photograph, a faded photograph, one that
invites emotional illusions and optical ones. Characters see what they
choose to see regardless of reality. Belief, they say, is a powerful
thing. In "Nancy" loneliness and the need to connect may be even more
powerful. People so desperately want to get close to each other but just
don't want to make it too obvious. All of this is what professional actors
love: the art of deception and belief in it by an audience. Every
character is an actor shedding masks and putting on new ones.
For the record, Nancy has an overactive imagination, to say the least. Cue
another of this film's in-jokes: Nancy is a writer. From New Jersey.
Her dreams have gone unfulfilled. Could it be that the swamp in the Garden
State is responsible? Or did Bridgegate detour Nancy's creative juices
into oblivion? There is much quiet and inescapable comedy amidst the edgy
confines of "Nancy" but the title character just about keeps a straight face.
Dedicated to the last, Nancy takes care of her rapidly dissembling mother (Ann
Dowd) who declares to her closed-off daughter that "you can still have a baby."
Comedy, comedy, comedy.
Nancy has a dentistry job (smile!); its office has a sign that reads something
like, "if you don't take care of your teeth they will go away." Now
that's comedy. The thing about "Nancy" is, its silent comedy is so
self-aware, self-evident like a tautology. Yet "Nancy" is also grim truths
and tension percolating into a primal scream of denial. "Nancy"'s aural
anthem is abandonment, a persistent alarm bell in this film, which Ms. Choe
wrote and Ms. Riseborough co-produced. Fear is embedded into the fabric
too: fear of failure, fear of completion or barreness.
Sometimes the imbroglios of these troubled souls on Ms. Choe's wintry canvas are
so achingly human but because "Nancy" as a cinematic work is so cool and
ritualistically episodic many scenes don't have appreciable time to be fully
absorbed beyond their surface. I think Ms. Choe designed her film this way
-- to leave threads tangled, or is that untangled? -- and to leave characters
not enjoying or not yielding fully to hugs from others. No comfort
allowed! But comedic escapism is welcome, shrouded in winks, nods and
fleeting, tentative attempts at smiles.
It should be said that only Ms. Smith-Cameron flaunts a range of emotions in
"Nancy" that elevate the film to places it probably hasn't the right to go.
Ms. Smith-Cameron, a venerable, brilliant Broadway actor, has previously
traversed related terrain on the big screen in the resonant epic drama
"Margaret". Her poise, intelligence and awareness are part of the full
spectrum of her work in "Nancy" and is its brightest and best asset.
A Sundance Film Festival entry in January, "Nancy" showcases the deceivers and
the deluded and also asks us which, if any, we are more comfortable with.
Nancy herself isn't one with mental illness, I believe. Sure, it may be
"crazy" to do what she does but "Nancy" is not about a crazy woman or about
mental illness. That would be too convenient. Above all I still
can't shake those subversions. There's even a figurative welcome mat for
cats -- cats, as a mocking stereotype assigned to single or lonely women of any
age, especially women of a certain age. When Nancy's cat Paul escapes into
the night the comedy is laid on thick when one character reassures her: "don't
worry, they always come back."
Also with: T. Sahara Meer, Virginia Kull, Samrat Chakrabarti.
"Nancy" is not rated by the Motion Picture Association Of America. (If it
were rated I would rate it PG-13 for thematic elements.) The film's
running time is one hour and 27 minutes.
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