Having just come off the set of a movie and renewed my appreciation for accidents, deadlines, compromises, and heartbreak, I thought I’d look back at the work of the much-missed Lynn Shelton, one of the finest unsung American romantic directors. Shelton decided, sadly, what turned out to be more than halfway through her life, that she was going to become a film director, and then she went out and did it.
I took my time getting around to Shelton, taking for granted that we had a dozen directors like her, making the kinds of gentle films that Sundance was then making its stock-in-trade. The festival was softening, and Shelton’s movies seemed endemic of a shift towards easy victories. It was an easy position to take. I felt inundated with that kind of work.
But then I actually sat down and watched “Your Sister’s Sister” and found something shocking in its subtlety. Shelton’s mise en scène was open, clear, and bright. Actors in rooms, digital photography, honest, unadorned. This showed you what you were looking at. And then, without warning, I felt a shift inside me. I’d seen everything plainly, but felt something greater than for which the facts seemed to allow.
It was her relationship to Marc Maron, her work directing episodes of “Glow,” his stand-up specials, and the magnificently madcap “Sword of Trust,” that turned me from a casual fan into a full-blown acolyte. Her back catalog then opened up—the Claire Denis cursive of “We Go Way Back,” the searing critique of foppish male posturing in “My Effortless Brilliance,” the whisper-quiet treatise on intimacy in “Touchy Feely,” and finally the openhearted luster of “Laggies,” this month’s Unloved.
As a huge Keira Knightley fan, the mediocre reviews hurt my heart. Seeing it, I was even more flummoxed, but maybe it’s just that this movie was made just for me: A film about retreating in plain sight, a house becoming a sight of secrets and turmoil while the rest of the world waits for resolution. It hit me right where it was meant to, and very much influenced my own movie.
We keep Shelton alive now through our connection to her movies and the tension that comes with bad intentions that crawl toward self-actualization. I’ll miss the way her little movies would grow so large. I’ll miss knowing the next Lynn Shelton movie was just a few years away.
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