As a returning veteran who was wounded in Afghanistan, Lawrence gets a chance to turn down the volume once again and deliver a low-key performance with no hint of some of the flashier roles she’s landed since receiving her first Oscar nomination. in 2010. Winter’s Bone. It’s a delight to see this immensely talented star turn down the notches a bit and cast herself in an understated portrayal of a woman not only suffering from the effects of physical wounds, but more deeply the unseen wounds within her that have had effects. devastating. on her ability to live a normal life.
Lawrence plays Lynsey, who worked for the US Army Corps of Engineers in Afghanistan and sustained injuries to both her body and brain when the vehicle she was riding in hit an explosive. After a period of intense rehab, he returns home to New Orleans (shown in a different light than in countless movies) where he moves in with his mother (Linda Emond), a loving but very difficult personality who doesn’t help. with a daughter who needs redirection in a life devastated by her wartime experience.
Taking tentative steps to get back to life, but actually yearning to recover enough to go on another tour, she gets a job cleaning pools much to her mother’s dismay. It’s simple enough that he can handle it, or so he thinks, but when his truck breaks down, he takes it to an auto repair shop where he meets a mechanic named James (Brian Tyree Henry), with whom he somehow forge. an unlikely friendship, one that they both take to uncomfortable levels after being casual new friends, both in their own tentative ways exploring the possibilities further. It turns out that their connection is the shared process of physical and psychological recovery from a life-changing accident, in James’s case, involving a car and the death of his nephew, and the loss of a leg. In a poignant and beautifully understated scene, details of her own trauma come to light as they sit by a pool that she is tending to her. The fragile connection of two very fragile people, eager for some human interaction but almost unable to let go, is heartbreaking. They’re both stuck at the crossroads of needing to love again, or even for the first time, but aren’t convinced it’s something they deserve or even want at this point in their lives.
With a screenplay by novelist Ottessa Moshfegh, Luke Goebel and Elizabeth Sanders, and carefully unstylized direction by debut filmmaker Lila Neugebauer, raised causeway is ultimately a small human story (it’s only 92 minutes) of the life sentence of trauma, its real-time effects, but more pervasively its irrevocable impact on the lives of two people, still in pain, but looking at each other. each other to help each other to the other side. This is indeed a gem of a character study, a silent study of two damaged people played by a couple of exceptional actors who never let us see them. interim. Lawrence may have waited a few years to resurface in a thoroughbred lead role, but it’s one that reconfirms the fact that he has extraordinary range, able to tell us everything about a person without really knowing. narration we nothing at all. It’s all there in the eyes. Henry is her equal here, proving again that he is one of the best actors, capable of stealing a dumb movie like the current one. Bullet train, and equally capable of capturing the soul of a man afraid to face his past, but hoping there might be something more.
The film belongs to Lawrence and Henry, but there is good if limited support from Emond, who is always reliable, Jayne Houdyshell in an early scene helping to rehabilitate Lynsey, and Stephen McKinley Henderson as her doctor, among others featured here. . and there. Diego Garcia’s cinematography and Jack Fisk’s production design add admirably to the mood of this tender, effective and moving drama.
Producers are Lawrence and Justine Ciarrocchi. It is a collaboration between Apple Original Films and A24. It will open in select theaters and begin streaming on Apple TV+ on November 4.