I saw the film last Saturday at the Hyde Park Picture House and, disappointingly, I was one of only twelve in the audience. I think the film has suffered as its release comes at the fag end of the BAFTA/Oscar season. And its marketing by Curzon Film World has been low key. Moreover the film has not been assisted by critics. The Sight & Sound review was generally positive but included the odd comment:
“but if he [the director Michael Franco] wanted his films to be viewed by the general public, would he not invest his distressing themes with humour, . . .” [Why the ‘general public’?].
Michael Franco’s previous film After Lucia (Después de Lucía, Mexico-France 2012) won Un Certain Regard at the Cannes Film Festival. Even so it failed to get a UK release, though it was screened at the Leeds and London International Film Festivals. Chronic won the Best Screenplay at last year’s Cannes Festival. It also contains a superb performance by Tim Roth, with greater depth and complexity than that which won Leonardo DiCaprio awards at the BAFTAs and from the Hollywood Academy.
Roth plays David, a care worker. It is important to note that he works in the US medical industry. In the course of the film we see David caring for three patients, one suffering from AIDS, one who has suffered a stroke and one who has cancer. David is meticulous, involved with his patients but also seems somewhat obsessive. It is his character rather than the situation of the patients that is the film’s focus. There are however explicit scenes of the sort of situations such sufferers face. So the film is occasionally ‘distressing’ but not grim and it has a real sense of humanity.
The film is fairly opaque, so whilst the original ‘chronic’ refers to time the periodity of this film is unclear. Likewise the place or places are not detailed. The S&S review has more detail on character and plot, but I suspect this is from the Press Pack rather than the film. The editing is elliptical, so we move from scene to scene, and later on one patient succeeds another, but how long this all takes is ambiguous, as is the motivation of David himself.
The film is dominated by the mid-height mid-shot, mostly in long takes: variants on the plan Américain. Long shots often include framing to achieve a parallel effect. And the central focus is David or David and a patient. Other scenes and the settings seem mainly about character. There are occasional tracking shots, including the long reverse track that ends the film. At this point Franco, who also scripted the film, includes a change of emphasis that parallels his earlier film.
I found this a rewarding viewing. And the quality of the production means that it is worth going to the cinema rather than settling for an inferior video version. The Hyde Park has it on Wednesday but the audience will include parents and young children. Picturehouse at the National Media Museum now have it programmed for April 19th. It may already have been and gone at the Curzon venues in Richmond or Ripon.