Kent Jones (known most for his documentary Hitchcock/Truffaut) wrote and directed Diane, the second of what I call noble films I’ve seen this week (For those who don’t read my every critique; Saturday was The Public by Emilio Estevez).
Diane was noble in taking on the true true reality that none of us get out of here (Earth) alive. Mary Kay Place (who I envied as an adolescent ogling over her sexy character Loretta on Mary Hartman Mary Hartman) does a tremendous job as the lead character, who like a Timex watch that keeps on ticking even after being dented again and again.
Her dings come in the form of an abusive drug addicted son (a supporting actor worthy performance by Jake Lacy), a cervical cancer stricken cousin, and other family members who both support and deride each other.
Also pinged by the cold winter of New England, Diane shops, enables her son by doing his laundry and grocery shopping, and works at a low income food co-op. She gives so much of herself, that she has no self left to nourish. Added to her plight is a painful secret (or maybe two) that haunts her and a true love that got away.
The dichotomy of mystery and symbolism (we are in the car with her viewing the winding road at several points) of the journey capture what our real lives truly are. We don’t know what tomorrow will bring (mystery), but we must keep driving the journey (symbolism) to discover. The flip the story takes where instead of mother badgering son, son badgers mother is beautifully portrayed and shows the evolution most of us face in being the givers and subsequent receivers of care.
A tiny bit wonky in parts and a little confusing as far as Diane’s own experimentation and denouement, Diane reminded me of a lesser First Reformed, yet totally worth viewing this thought provoking story.