Kevin: Gregg Araki’s mesmerizing White Bird in a Blizzard has all the initial trappings of a typical coming-of-age drama. Kat Connors (Shailene Woodley) longs to leave her idyllic hometown life, while her mother, Eva (Eva Green), feels overburdened by her role as a doting housewife. When Eva mysteriously disappears, Kat is haunted by persistent dreams of her, and reassesses their tumultuous relationship through therapy and an affair with a cop assigned to her missing person’s case. The premise is familiar, but the film draws upon the melodramas of Douglas Sirk to convey how Eva feels shackled by the hardships of marriage and motherhood. Aided by cinematographer Sandra Valde-Hansen and composer Robin Guthrie, Araki abstains from the histrionic tendencies of his earlier work, opting for an understated color scheme and score that firmly establishes the themes of alienation in 1980s suburban life. Following her widely praised turn in The Spectacular Now, Woodley demonstrates assertiveness in the lead role, but it’s Eva Green who leaves the greatest impression. Green’s steely flourishes invite comparisons to Joan Crawford, but feel closer to Barbara Stanwyck in their unrelenting swagger. Other notable performances include those of Gabourey Sidibe and Mark Indelicato, whose lively exchanges with Woodley provide a needed respite from the drama, and Shiloh Fernandez, who complements his character’s fetching looks with a charming half-witted persona as Kat’s boyfriend Phil. In a standout sequence that takes place in a local underground club, Kat and Phil seductively dance to Depeche Mode’s 1987 classic “Behind The Wheel”. Through a breathlessly shot and edited montage, Araki injects this scene with infectious spontaneity and groove. White Bird in a Blizzard is Gregg Araki’s most restrained directorial effort since Mysterious Skin, but is punctuated with many spirited moments that reaffirm his reputation as a genre-defying, risk-taking filmmaker.
Motion State Review 