• The Nest is the long-awaited sophomore effort from Sean Durkin. Durkin was last seen directing Martha Marcy May Marlene in 2011.
  • The story here revolves around Carrie Coon’s Allison and Jude Law’s Rory O’Hara and their two children. It is set in the Reagan/Thatcher 1980’s. Plenty of room for the Thompson Twins, Heart and The Cure on the soundtrack mixed in with some nice jazzy intervals.
  • Durkin uses a silent reverse zoom 3-4 times (maybe like a quarter version hold of what Pakula does) along with some brief dissolves. Neither are sustained or held enough to create any real stylistic formal rhythm unfortunately.
  • Law and Coon are magnificent. Law plays a sort of desperate but charismatic salesman. He’s half Dickie Greenleaf from The Talented Mr. Ripley and half Biff Loman from Death of a Salesman. The little tour he gives of their stunning, yet cavernously hallow estate is intoxicating—and Durkin is right to put most of it in one swoon-inducing tracking shot.
  • It is a slow-burn deconstruction of a relationship and family—Marriage Story, Scenes From a Marriage– though 2008’s Revolutionary Road from Sam Mendes may be the best comparison. The writing is incisive, and the highlight may be a massive fight between the two leads in their home—complete with a beautiful green lampshade against the mahogany wall.
  • Cinematographer Mátyás Erdély is one to keep an eye on- he worked with László Nemes on both of his films (2015’s Son of Saul and 2018’s Sunset)
  • Recommend but not in the top 10 of 2020. I was both impressed by the film and slightly disheartened given the long gestation period between films for Durkin. This work feels like it should be part in a series- like Baumbach or Rohmer. We’re not comparing body of works here but Rohmer fired off five films in his first ten years after his debut. I’ll go back to optimism here for the Baumbach comparison (and this entire critique is a compliment to Durkin as I’m comparing him to great auteurs and complaining about not getting enough films from him)—Baumbach only delivered three films in his first ten years—so perhaps Durkin will find it easier moving forward and we’ll have a 2020’s filled with a few films of his at least.