Kelly Reichardt had proven herself a master at slow-burning, melancholic dramas with Old Joy, Wendy and Lucy and Meek’s Cutoff. She switched gears with the eco-themed thriller Night Moves: a relatively mainstream feature that moved at a faster pace than her preceding work. Her latest, Certain Women, an adaptation of short stories by Maile Meloy, sees Reichardt tackle a contemplative ensemble drama that recalls the solemn tone set by her earlier work.
Fittingly, it reunites her with her Wendy and Lucy and Meek’s Cutoff muse, Michelle Williams, who plays one of the four women that populate the three interwoven vignettes set in and around Livingston, Montana.
The first opens with what seems like the end of an adulterous tryst between lawyer Laura Wells (Laura Dern) and a gruff, handsome man named Ryan (James LeGros). Once at work, she’s surprised by a visit from her client, Fuller (Jared Harris), who’s seeking compensation for an office accident. Refusing to take Laura’s advice that he has no case, she agrees to bring Fuller to a male lawyer who offers the same counsel. Unable to accept defeat, Fuller takes matter into his own hands, bringing Laura along for the ride.
Ryan is revealed to be married to Gina (Williams), in the second and chilliest chapter. The pair, along with their bored teenage daughter Guthrie (Sara Rodier), are camping near a plot of land on which the couple intent to build a house. On their way back to the city, the family make a stop to visit Albert (Rene Auberjonois), an old family friend, in an effort to persuade him to sell some vintage sandstone for use on their new venture, that he no longer has use for.
The third section section is the most nakedly emotional of the trio, centring on a Native American horse rancher (the wonderfully expressive Lily Gladstone), who seems to have no human interaction in her life while caring for her horses on a remote ranch. That changes when she happens upon a class on education law in the nearest town, and takes an immediate liking to its instructor, Elizabeth (Kristen Stewart), an overworked law-school graduate who commutes a long distance for the job. Over a number of post-class diner meals the pair bond, with the unnamed ranch hand soon believing their connection to be a romantic one.
Like Reichardt’s directorial hand, the performances are understated across the board, but deeply felt. Gladstone conveys a heartbreaking sense of yearning, while never verbally stating as much. Dern and Williams, playing women who face sexism over the course of their two storylines, simmer under the surface with palpable anger. And Stewart continues to impress, following a revelatory performance in Clouds of Sils Maria, as a young woman seemingly oblivious to the effect she has others.
Together, they form an indelible portrait of independent women at odds with their rural surroundings.
