Josephine Decker‘s work carries with it a high-wire sense of danger, an aesthetic of possibility and collapse. Whether in the costumed genre trappings of Thou Wast Mild and Lovely, the shifting and uneasy ambivalence of Butter on the Latch‘s just-this-side-of-horror stay at a Balkan folk gathering, or (especially) the self-immolation of Flames, in which Decker’s camera focused with supreme discomfort on her own relationship, the viewer is simultaneously at a remove and much, much too close, piecing together fragments with a mounting sense that the whole edifice could topple.
Butter on the Latch
In Kelly Reichardt’s masterful 2013 meditation on terrorism Night Moves, we’re slowly introduced to a trio of disaffected young people staging a dramatic intervention: the explosion of a dam. Memorably, and in true Reichardt fashion, that explosion, which by all standard narrative conventions should occupy the film’s central spot, registers in the narrative instead as a muted, distant noise.