For a lot of the wispy drama “Anne at 13,000 Ft,” you look forward to it to increase on its title and perhaps even coalesce into one thing greater than its nebulous components. The title character is a kind of troublesome ladies that the films simply can’t give up and infrequently show as attention-grabbing as filmmakers appear to suppose. Anne clearly has points — psychological, behavioral, familial — however the film isn’t massive on specifics. It’s a fairly, uninvolving blur.
So is its title character. The story, equivalent to it’s, facilities on Anne (Deragh Campbell), who works in a day-care heart and appears to have lately moved into her personal pad. She’s skittish and infrequently unfocused, however, at 27, she’s desirous to be on this planet even when she isn’t prepared for its pressures. There are early indicators of bother, together with from a co-worker, an older girl who moderately reminds Anne that she must control the younger youngsters they take care of. Anne later throws a cup at the co-worker, calling her dumb.
It’s an empty paper cup and no biggie — or so the film would have you ever imagine. The act earns Anne a mild, comically indulgent lecture from a supervisor (it solely makes Anne appear extra childlike) and that’s about it; you might really feel much less affected person and sympathetic. The drawback isn’t the cup or the insult, however that the writer-director Kazik Radwanski doesn’t do something with the incident. Instead, it turns into one in a sequence of floaty if progressively leaden moments — butterfly wings brushing the pores and skin, a marriage veil crusing within the air, a giddy escape to a roof — that alternately counsel flight, freedom and falling.
Things occur, together with a parachute bounce that type of explains the title and offers the film with some ominously ethereal visuals. Anne’s mom (Lawrene Denkers) indulges her, as does a lover (Matt Johnson), one among a number of moths drawn to her. These guys all appear simply to wish to get it on, although that’s too earthy a take for a film that prettily drifts. This wafting extends to the stressed digicam, which strikes round in agitated style, as if to convey Anne’s unsettled thoughts. Everything else usually stays out of focus, underscoring her isolation. Amid the blurred edges, the youngsters look at Anne brazenly and curiously however with out nice curiosity. They’re the truest factor within the film.
One insurmountable drawback with “Anne at 13,000 Ft” is that its protagonist isn’t attention-grabbing sufficient, isn’t deeply felt or considerably drawn sufficient, to function the axis for a film that hovers round psychological sickness and tries to substitute free-floating metaphors for a narrative. There’s nothing incorrect with messiness and mistiness and camerawork so insistently agitated that it appears to be hooked on amphetamines. But you want one thing to maintain you engaged, like a persuasive lead efficiency. Campbell tries onerous to precise Anne’s internal life — she erupts into giggles, lets her face drain, casts her gaze downward — however these items additionally by no means cohere.
Anne at 13,000 Ft
Not rated. Running time: 1 hour 15 minutes. In theaters.