Film Journal 11 – Wendy and Lucy

“Indie” credibility, in my opinion, began with Little Miss Sunshine and peaked with Juno. The former is a guilty pleasure, but I absolutely detested the latter. The problem with this trend is the shift in the films’ form. The idea of an “independent” film has ceased to mean a film made independently and has become a specific style and aesthetic: drawings (that all have the same/very similar style), affected dialogue, and everyday occurrences handled in witty, even extraordinary, ways. Examples of the trendy, formulaic style of drawing:

One of the many things Kelly Reichardt’s Wendy and Lucy does very effectively is allow Wendy’s characterization to show through her actions and the obstacles she faces. Though the film lacks any real plot (Wendy is going to Alaska, she stops in Oregon, she loses her dog, and she finds her dog), the basic elements that are provided, in addition to the portrayal of Wendy by Michelle Williams, is all anyone truly watching the film needs to understand Wendy. As Roger Ebert said in his review of the film, “I know so much about Wendy . . . at this moment: stranded in an Oregon town, broke, her dog lost, her car a write-off, hungry, friendless, quiet, filled with desperate resolve.”
An interesting aspect of the film is its setting’s complacency. Everything in the town is at a standstill, except Wendy. She becomes trapped by the police, the mechanic, and most importantly the pound. When she is able to sever ties with all but her dog she continues on her journey, after she’s made a promise to come back for Lucy when she’s made a lot of money.


Works Cited
Ebert, Roger. "Wendy and Lucy." Rev. of Film. Sun Times [Chicago] 28 Jan. 2009. Rogerebert.suntimes.com. 28 Jan. 2009. Chicago Sun Times. 21 July 2009 .
Juno Picture: http://www.soundstagedirect.com/media/juno_soundtrack.jpg
Away We Go Picture: http://screencrave.com/wp-content/uploads/2009/06/away-we-go.jpg