21 Grams

21 Grams is Alejandro Gonzalez Inarritu’s follow-up to the acclaimed Amores Perros, and clearly marks his arrival as an astounding new talent. It’s easily the finest movie to play at the festival, and will most likely top my best-of-the-year list. Part of what makes the film so great is the way it requires the viewer to assemble facts as time progress; 21 Grams has been edited in such a way that we’re constantly jumping through time, but it never becomes confusing. I’m loathe to give out a plot description, so all I’ll say is that the film is an examination of loss and love, and stars Sean Penn, Naomi Watts, and Benicio Del Toro. The film contains many sequences that are searing in their intensity, and the three central actors are certainly up to the task. Penn and Del Toro are expectedly excellent, but Watts is the real surprise here. She more than holds her own with her two costars, which is no small feat given the level of intensity that’s going on here. Some mention must also be given to Clea DuVall, who has a small – but pivotal – role; she has one scene in particular that establishes her as a major up-and-coming talent. But the real star of 21 Grams is Inarritu’s direction, which is steady and focused – and not to mention innovative. Along with composer Gustavo Santaolalla, Inarritu’s created a film that is incredibly moody and dark – though never to the point where it becomes overwhelming. The movie is packed with instances of bravura direction, with a sequence involving misdirection the obvious highlight. 21 Grams is easily the most emotionally devastating movie to come around in a long while, and though the movie’s mid-section could’ve used tighter editing, there’s no denying that it’s an extremely accomplished piece of work. Don’t watch the trailer or read the synopsis – just see it.

**** out of ****