By Kim Voynar Voynar@moviecitynews.com

Sundance Review: THE TALE

One of the most buzzed-about films is “The Tale,” writer-director Jennifer Fox’s powerful, personal story based her childhood experience of being groomed and sexually abused at the age of 13 by a beloved track coach.  Laura Dern, outstanding in every frame, plays the adult Jennifer, while 15-year-old Isabelle Nélisse plays Jenny at 13. Best-known for her expansive personal documentaries like the epic “Flying,”  Fox skillfully weaves a fascinating journey through layers of perception and misperception skewed by innocence and naiveté.

Jennifer, in the film, is als a documentary filmmaker who lives her life at a frenzied, frantic pace that will register as immediately familiar to many adult survivors of childhood sexual abuse or trauma; any good therapist will tell you that when you have buried issues your mind doesn’t want to deal with, one of the ways it deals with that is by keeping itself very busy all the time so it doesn’t have to unravel painful truths.

When we meet Jennifer she’s returning home from yet another work trip to a far-flung place to find her mom (Ellen Burstyn) has left a slew of very upset voice mail messages about something she’s found in going through Jennifer’s old keepsakes – a handwritten story written when Jennifer was 13-year-old Jenny – about a young girl’s sexual deflowering by her running coach, and her relationship with the coach and his married girlfriend. Jennifer’s story to herself has always been that this was a special, romantic relationship; now that her mother’s raised the question, though, she’s forced to consider: has she been hiding the truth about a sexual predator behind a romanticized tale of  first love her entire adult life? The documentary filmmaker turns a lens upon herself, using the techniques she teaches her students to use on their interview subjects to uncover buried truths within herself.

Performances are solid all around. Dern is a reliably terrific actress in anything and she delivers a practically perfect turn here, charting Jennifer’s emotional with a raw anguish and desperation to understand and confront her truth. Rapper Common, as Jennifer’s sympathetic, endlessly patient partner, is a steady presence throughout the film, balancing out Jennifer’s increasingly frantic energy. Jason Ritter simultaneously plays both with and against his usual good-guy type, delivering a career-high performance as the charismatic, charming track coach, Billy. As for Nélisse, the young actress shines with a mature, nuanced performance in the kind of role we would have seen Dakota or Elle Fanning inhabit not too many Sundances back (for the curious, Nélisse and Ritter were filmed separately for the sex scenes between Jenny and Billy. Nélisse was shot on a vertical bed with the camera turned sideways, and Ritter’s scenes were filmed with an adult body double).

The intricacies unfold slowly, evoking structurally the way memory itself works: we see Jenny as a young girl, and Jennifer the woman, going between past and present, trying to make sense of what really happened that summer, as Jennifer the documentary filmmaker gets closer to discovering the truth she’s hidden from herself her entire adult life. Fox doesn’t shy away from looking squarely at the spots that make us cringe, revealing in vivid detail how Billy slowly, carefully “grooms” Jenny over months of building trust. It’s a hard film to watch – Nélisse, who’s 15 but looks more like 12 here, seems so tiny, so young and naive, and Billy so smoothly charming and practiced in his grooming of her and you want to reach out to her to make it stop – but it’s all so exquisitely crafted you can’t help but be drawn into Fox’s sad – and all too common – tale.

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“When books become a thing, they can no longer be fine.

“Literary people get mad at Knausgård the same way they get mad at Jonathan Franzen, a writer who, if I’m being honest, might be fine. I’m rarely honest about Jonathan Franzen. He’s an extremely annoying manI have only read bits and pieces of his novels, and while I’ve stopped reading many novels even though they were pretty good or great, I have always stopped reading Jonathan Franzen’s novels because I thought they were aggressively boring and dumb and smug. But why do I think this? I didn’t read him when he was a new interesting writer who wrote a couple of weird books and then hit it big with ‘The Corrections,’ a moment in which I might have picked him up with curiosity and read with an open mind; I only noticed him once, after David Foster Wallace had died, he became the heir apparent for the Great American Novelist position, once he had had that thing with Oprah and started giving interviews in which he said all manner of dumb shit; I only noticed him well after I had been told he was An Important Writer.

“So I can’t and shouldn’t pretend that I am unmoved by the lazily-satisfied gentle arrogance he projects or when he is given license to project it by the has-the-whole-world-gone-crazy development of him being constantly crowned and re-crowned as Is He The Great American Writer. What I really object to is this, and if there’s anything to his writing beyond it, I can’t see it and can’t be bothered. Others read him and tell me he’s actually a good writer—people whose critical instincts I have learned to respect—so I feel sure that he’s probably a perfectly fine, that his books are fine, and that probably even his stupid goddamned bird essays are probably also fine.

“But it’s too late. He has become a thing; he can’t be fine.”
~ Aaron Bady

“You know how in postproduction you are supposed to color-correct the picture so everything is smooth and even? Jean-Luc wants the opposite. He wants the rupture. Color and then black and white, or different intensities of color. Or how in this film, sometimes you see the ratio of the frame change after the image begins. That happens when he records from his TV onto his old DVCAM analog machine, which is so old we can’t even find parts when it needs to be repaired. The TV takes time to recognize and adjust to the format on the DVD or the Blu-ray. Whether it’s 1:33 or 1:85. And one of the TVs he uses is slower than the other. He wants to keep all that. I could correct it, but he doesn’t want me to. See, here’s an image from War and Peace. He did the overlays of color—red, white, and blue—using an old analog video effects machine. That’s why you have the blur. When I tried to redo it in digital, I couldn’t. The edges were too sharp. And why the image jitters—I don’t know how he did that. Playing with the cable maybe. Handmade. He wants to see that. It’s a gift from his old machine.”
~ Fabrice Aragno