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Kim Voynar

By Kim Voynar Voynar@moviecitynews.com

TIFF12 Review: Middle of Nowhere

Middle of Nowhere, Ava DuVernay’s quiet, reflective film, starts out with an interesting premise and builds from there with some strong performances and thoughtful cinematography that effectively evokes the desperation and sorrow of its protagonist, a young woman with a promising future who puts her life on hold when her husband is sent to prison. Ruby (Emayatzy Corinealdi), drops out of medical school to work as an nurse for the duration of husband Derek’s (Omar Hardwick) prison sentence, which she convinces herself will be reduced to four years for good behavior, if only he can stay out of trouble. In a sense, Ruby is imprisoned too, though she puts herself into a prison of her own making by her choice to stand by the man she loves, and as the likelihood of Derek’s early release looks bleaker and bleaker, Ruby finds herself questioning the path she’s taken.

Derek wants to stay out of trouble, no doubt, and get the hell of there, but he’s also caught in the reality of being in prison, which is that it’s just not always possible to go about your business and keep your head down without putting your own safety in danger. He also knows that Ruby needs to follow her dream and stay in med school – it’s established early on that Ruby is by far the smartest one in the room — and that if she could just stay in school she’d achieve her goal of becoming a doctor. But Ruby, for reasons that, frankly, rather baffled me as much as they do those close to her, decides she has to continue working in nursing while Derek’s away. After all, she has to keep a roof over her head, and pay off the hefty fees for Derek’s attorney.

Ruby’s sister Rosie (Edwina Findley), a struggling single mom, supports Ruby emotionally while being jealous that Ruby has someone who loves her, even if he is in prison; their tough-love mom, Ruth (Lorraine Toussant) loves her daughters, but can barely contain her disappointment and anger over Rosie’s single mom status and Ruby’s choice to drop out of med school. Still, Ruby toils along, day by day, until the day she meets Brian (David Oyelowo), a kind-hearted bus driver who wants to take Derek’s place in Ruby’s tumultuous life. Ultimately, Ruby has to make a choice: Be true to her marriage, in spite of everything? Take a chance on a new life with Brian? Or find her own path?

DuVernay’s become something of an icon among the African-American filmmaking community over the past several years. She won the Best Director laurels at Sundance this year, making her the first African-American woman to do so, and is the organizer of the African-American Film Festival Releasing Movement film collective, which organizes efforts for festival submissions and coordinates theatrical releases for films made by African-American filmmakers. She’s becoming quite the powerhouse, known for her passion in articulating her ideas around distribution and minority filmmaking. She’s also, it turns out, a fine writer and director, displaying an able, controlled hand in directing her cast and weaving a story about a strong female protagonist who just needs to find her way. Keep an eye out for DuVernay, this woman is on the move … and she’s not waiting for Hollywood to give her permission to do exactly what she wants to do.

6 Responses to “TIFF12 Review: Middle of Nowhere”

  1. Jina says:

    Couldn’t have said it better myself! Love the film, love the woman. A definite must see!

  2. Lakeisha says:

    I loved this film and hope others see as well. Everything flowed well. The dramatic scenes where Ruby sits and thinks brings the reader in, and made we wonder how I wouldwould handle her situation.

  3. Nicole says:

    This film was incredible! I had tears by the end it moved me so much. The cinematography (the shots, the shifting focus, the lighting), the soundtrack, the acting…… I don’t mean to build it up for you, just GO SEE THE FILM. And if you like it, tell a friend. We should support such low-budget filmmaking.

  4. Sid Barish says:

    Excellent personal story. Touches the hart time and time again

  5. Kim Voynar says:

    Nicole, exactly.
    If you love indie film, support it by going to see films in theaters. Take a friend, tell a friend. That should be our guiding mantra.

  6. Deidre says:

    Ava and her team have raised the bar. This is an amazing film in every way—-from the images, the story and the acting. Bravo to all!!!!

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~ Wes Craven, 1996, promoting Scream

MAMET
Well, that, to me, is always the trick of dramaturgy; theoretically, perfectly, what one wants to do is put the protagonist and the audience in exactly the same position. The main question in drama, the way I was taught, is always what does the protagonist want. That’s what drama is. It comes down to that. It’s not about theme, it’s not about ideas, it’s not about setting, but what the protagonist wants. What gives rise to the drama, what is the precipitating event, and how, at the end of the play, do we see that event culminated? Do we see the protagonist’s wishes fulfilled or absolutely frustrated? That’s the structure of drama. You break it down into three acts.

INTERVIEWER
Does this explain why your plays have so little exposition?

MAMET
Yes. People only speak to get something. If I say, Let me tell you a few things about myself, already your defenses go up; you go, Look, I wonder what he wants from me, because no one ever speaks except to obtain an objective. That’s the only reason anyone ever opens their mouth, onstage or offstage. They may use a language that seems revealing, but if so, it’s just coincidence, because what they’re trying to do is accomplish an objective… The question is where does the dramatist have to lead you? Answer: the place where he or she thinks the audience needs to be led. But what does the character think? Does the character need to convey that information? If the answer is no, then you’d better cut it out, because you aren’t putting the audience in the same position with the protagonist. You’re saying, in effect, Let’s stop the play. That’s what the narration is doing—stopping the play… It’s action, as Aristotle said. That’s all that it is—exactly what the person does. It’s not what they “think,” because we don’t know what they think. It’s not what they say. It’s what they do, what they’re physically trying to accomplish on the stage. Which is exactly the same way we understand a person’s character in life—not by what they say, but by what they do. Say someone came up to you and said, I’m glad to be your neighbor because I’m a very honest man. That’s my character. I’m honest, I like to do things, I’m forthright, I like to be clear about everything, I like to be concise. Well, you really don’t know anything about that guy’s character. Or the person is onstage, and the playwright has him or her make those same claims in several subtle or not-so-subtle ways, the audience will say, Oh yes, I understand their character now; now I understand that they are a character. But in fact you don’t understand anything. You just understand that they’re jabbering to try to convince you of something.
~ David Mamet

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