Oh, to be a fly on the wall in the course of the writing course of that sparked Katie Aselton‘s fourth directorial effort, “Magic Hour.” Written alongside her real-life husband (and fellow filmmaker) Mark Duplass, Aselton has made it clear in press supplies that the movie, a couple of loving if troubled married couple (performed by Aselton and Daveed Diggs) isn’t explicitly about her precise marriage. But it surely’s additionally not not about her and Duplass’ long-running relationship. Nonetheless, when you see the place Aselton and Duplass’ script takes their characters, the differentiation turns into simpler to swallow, if not all of the extra intriguing.
No spoilers right here, however suffice it to say, it’s thrilling to marvel at what level of their chatting Aselton and Duplass landed on the backbone of the story, one which additionally serves as a really massive twist and an bold swing. And, sure, this twist does come early within the movie, a sensible alternative by its writers that enables Aselton to maneuver ahead, and rapidly, into different dimensions. Eagle-eyed audiences will possible spot it simply earlier than Aselton reveals her little magic trick, however that doesn’t dilute its energy. Oh, it’s that form of movie, viewers may assume. Nicely, let’s see the place it goes.
The place it goes? Considerably bumpy, however refreshingly sincere and really a lot a return to the form of filmmaking that kickstarted Aselton’s personal directing profession, again in 2010 with “The Freebie,” one other film in regards to the intricacies and intimacies of marriage, this one starring Aselton and a never-better Dax Shepard. Within the intervening years, Aselton has tried her hand at different genres: 2012’s “Black Rock” is a thriller set on a distant island, whereas 2022’s “Mack & Rita” is a body-swap comedy starring the enduring Diane Keaton.
Aselton’s intent to return to extra private filmmaking can also be famous in those self same press supplies, and “Magic Hour,” largely set in a single location in Joshua Tree, California and primarily targeted on Aselton and Diggs’ characters, suits that invoice, if broadly. However, in different methods, it’s the largest swing she’s taken but, and whereas that usually means (seemingly) shrill interactions and (knowingly) broad feelings, there’s additionally a deep satisfaction to be discovered within the core of honesty that impressed such risk-taking.
We first meet Aselton’s Erin and Diggs’ Charlie by the use of outdated residence video: Erin is attempting to persuade Charlie, perpetually petrified of heights, to experience a ferris wheel. Their interactions are candy, lived-in, flirty, and heat. Briefly: they’re a pleasant couple. Within the current, the duo have decamped to a good friend’s (Brad Garrett) stylish desert retreat, ostensibly to get well from some nebulous tragedy. Different outdated movies allow us to right into a fertility battle, and Erin positive appears mad at Charlie for no matter occurred. Aselton doesn’t maintain out on us for too lengthy, and by the top of the movie’s first act, she’s let free, each as a performer (Erin is all massive feelings) and a filmmaker.
Early on of their journey, Erin muses that she and Charlie may simply keep within the desert, “get bizarre,” do one thing new, and “Magic Hour” as a complete often takes that concept and runs with it, getting trippy in doses, going broad with considerably startling regularity, and basically letting itself be as messy as grief itself. Not each swing lands (Erin will get a therapeutic massage that turns into one thing else totally, and questions of consent swirl, seemingly unnoticed), however its unpredictability (like a young interplay with a gaggle of native drag queens, led by Shangela) feels far more characteristic than bug. Something can occur with a damaged coronary heart, in any case.
It additionally seems to be simply attractive, due to cinematography from Sarah Whelden, which by no means skimps on the nightfall from which it takes its title, but additionally finds heat in mornings, late nights, and comfy interiors. Principally, it feels protected and welcoming, the precise form of area wherein somebody would need to work out their greatest issues and face down their worst tragedies. We may all stand for extra of that.
Grade: B
“Magic Hour” premiered on the 2025 SXSW Pageant. It’s presently searching for U.S. distribution.
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