Envision for once in yourself waking up at the end of the world, on a stifling globe rife with unending environmental catastrophe and the foul odors of social inequality. That literally means you are squeezed in the mid of society and its rules.
This must be a marvel of our species’ persistent hopefulness that today’s youngsters and teens, despite the gloomy possibilities set for them by adults, can nevertheless foresee a viable future.
Testimonies from those youthful spirits strengthen “C’mon C’mon,” a delightfully riotous intergenerational conversation turned gratifying dramedy.
Mike Mills wrote and directed the 2021 American black-and-white drama film C’mon C’mon. Mike Mills’ newest movie, his first in five years, finds the writer-director watching the impasses and affinities of parents and their children once more.
Rating: R (Language)
Original Language: English
Director: Mike Mills
Producer: Chelsea Barnard, Lila Yacoub, Andrea Longacre-White
Writer: Mike Mills
Runtime: 1h 48m
Production Co: A24, BRON Creative
Michael Chadbourne Mills is a film and music video director, writer, and graphic designer from the United States. Beginners and 20th Century Women are two of his most well-known indie films.
Mills was shortlisted for an Academy Award for Best Original Screenplay for the aforementioned film. Mills is a narrator with a shedding, visceral perception of truthfulness, fearless of unexpectedly exploding feelings, and he is one of the most genuinely introspective American directors active nowadays.
A cross-country excursion creates an unprecedented tie between an artist (Phoenix) and his precocious young nephew (Norman). Johnny (a reassuringly tender Joaquin Phoenix) is a radio journalist on a mission to interview a multifaceted group of young people of their most favored hopes and dreams and most disturbing fears.
Conversations with actual people are used to interrupt the movie as it goes from one area towards the next. The use of this cinematic nonfiction element serves to counterbalance the protagonists’ artistic, white-privileged prism through which they perceive things.
Even without communal judgment of teenagers from various socioeconomic backgrounds and preoccupations, the outcome will be excessively restrictive. Thrown a curveball, Johnny travels to Los Angeles, a city he despises as a proud New Yorker, to care for his nephew Jesse (Woody Norman), whilst his sister Viv (Gaby Hoffmann) assists her husband, Jesse’s mentally ill father.
After not seeing him in a year, Johnny is perplexed by Jesse’s love for pretending to be an orphan, maybe to absolve himself of the burden of coping with his parents’ traumas and circumstances.
Nevertheless, he gradually joins the rascal’s world of unrestrained ideas. Whenever the uncle has to bring him along on business trips, their attachment and squabbling develop.
Norman (already a veteran of British TV) managed to carve out a jaw-dropping role from subtle bouts of depression and cheeky charisma in a duel with Phoenix. Jesse absolutely amazes everybody he meets, being both kind and obnoxious, appearing very much in control yet still a youngster dealing with the volatility of his home life.
Phoenix’s conversation with Norman develops a foundation of faith moment after moment. Johnny’s paternal love for Jesse, as well as the child’s embrace of it, with its qualifiers and rough edges, results in a succession of little artistic marvels.
- Joaquin Phoenix as Johnny
- Gaby Hoffmann as Viv
- Woody Norman as Jesse
- Molly Webster as Roxanne
- Jaboukie Young-White as Fernando
- Scoot McNairy as Paul
On September 2, 2021, it made its international debut at the Telluride Film Festival. It will also be shown at the New York Film Festival on October 4, 2021.
The film has IMDb ratings of 8.1/10 with 52 IMDb users acknowledging the movie C’mon C’mon.
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Mills careens through the account of a 9-year-old child with a frenetic intellect, his stressed mother, and his uncle-turned–temporarily purported father for this profoundly complex work.
The filmmaker rejects uncomplicated finger-pointing about the status of the world, portraying adults not as figures of superior knowledge but as people just as befuddled as those considerably younger in age.
Mills and his ensemble create the impression of intuitive filming, persuading us that the lived spontaneity of the planned vignettes is manifesting before our own eyes.
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