Drawing explicit connections between the repeated elements of Josie’s story, superimposing faces and body positions, the stylized approach has a forced quality - especially in contrast to the subtler moments found elsewhere. Tamblyn’s experience as a first-time director is readily apparent in some of these more experimental moments. When Josie can’t grasp the clearest way forward, she’s overwhelmed by fragmented visions, marked by radical color changes (neon reds give way to isolated blues) and an eerie sound design that seeps through past and present. Josie’s discovery of Michael’s upbringing, floating through his childhood room and hearing Meredith’s contradicting stories, brings on some of Tamblyn’s boldest hallucinatory sequences. The film focuses on its two women’s joint struggle rather than its cause.Īs Josie and Meredith both cope in their own unseemly ways (an outrageous funeral encounter here, an unwanted house call there), they also struggle to preserve their respective ideas of the young man they’ve both lost. He only reappears in sparse flashbacks filtered through Josie’s memories, mostly without dialogue after the scene of him and Josie meeting. A former ingenue pianist, Meredith never quite sheds her performative skin, adopting the veneer of the grieving parent as an extra layer over the pain and confusion underneath.Īs both women begin to process a life without Michael, the tension between them rises. Tamblyn’s strongest narrative choice is one of omission: The film isn’t overwhelmed with an investigation of why Michael chooses to take his own life. ‘Animals’ Trailer: Alia Shawkat and Holliday Grainger’s Wild Sundance Friendship Dramedy Sets Fall Releaseīeyond Josie’s struggle, “Paint It Black” also offers the perspective of Meredith ( Janet McTeer), Michael’s distraught mother.
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