Where is Kyra?, 2018.
Directed by Andrew Dosunmu.
Starring Michelle Pfeiffer, Kiefer Sutherland, Sam Robards, and Suzanne Shepherd.
SYNOPSIS:
In Brooklyn, New York, Kyra (Pfeiffer) loses her job and struggles to survive on her ailing mother’s income. As the weeks and months go on, her problems worsen. This leads her on a risky and enigmatic path that threatens her life.
Michelle Pfeiffer continues to make a comeback; recently she was seen as one of the best parts of the Murder on the Orient Express remake and also turned some heads as a confrontational, invasive, and enigmatic wife in Darren Aronofsky’s mother!, but it’s her brooding, depressing, and agonizing central performance as an aging woman in Andrew Dosunmu’s (Mother of George) moody work that premiered at last year’s Sundance film festival intriguingly titled Where is Kyra? that emerges as her strongest turn in at least a decade.
However, this is most certainly not a film for those without patience as it does opt for the route of quiet atmosphere, facial expressions longing with emotional pain, and defeated body language to convey its narrative rather than tell a straightforward and conventional story about loss, crushing loneliness, and illegal behavior brought on by the walls of financial stability closing in rapidly. Andrew Dosunmu confidently grants Bradford Young’s cinematography (mostly known for his Oscar-nominated work on the intelligent sci-fi thriller Arrival and A Most Violent Year) the honor of setting the mood, lighting Kyra’s apartment in creeping darkness as the audience, from a distance, watches her bring her ill mother (she seems to always be congested and in need of medical treatments conducted from home to help clear the gunk out and improve her breathing) from her bedroom to the nearby bathroom with a shower for cleaning all within the same unbroken shot that also utilizes mirror reflections and repositioned doors to aesthetically pleasing and immersive effects.
None of this ever changes; the photography in Where is Kyra? is either removed from the characters or a close-up of Kya, and the entire movie is devoid of any light. This allows for viewers to feel as emotionally disconnected from Kyra as she is to herself, while consistently making for arresting visuals thanks to complex camera operation. Even the title of the film apparently is not a literal question, but a metaphorical one referring to the emptiness residing inside Kyra’s mental well-being.
Following the natural passing of her mother (a methodically constructed and paced scene that lets the shock of the event fully hit Kyra), the above sadness is only amplified, but now there are additional problems considering that Kyra, who no longer has a job despite always being out and about looking for any work possible, can no longer cash her mother’s pension checks. For whatever silly reason, those in charge are unaware that the woman has passed (a frustrating piece of narrative convenience that one simply has to overlook in order for there to be a film), giving Kyra the dangerously desperate idea to cover herself in as much as her mother’s clothing as possible (heavy jackets, hats, and sunglasses) and mimic her snail reminiscent walk to go collect the money as if she was still alive. Ridiculous is an appropriate word for it, especially considering every time this happened my mind went to a similar disguise played for comedic purposes in the Mark Wahlberg/Will Ferrell buddy comedy The Other Guys. With that in mind, Michelle Pfeiffer’s commitment to the role through terrific acting is enough to keep the downbeat themes and tone from slipping away from Dosunmu’s hands.
Kyra also meets a similarly down on his luck fellow played by Kiefer Sutherland, who is both presented as her light in the darkness and a voice of reason to fraudulent schemes that could potentially lead her directly to prison. Backstory seems to be of no concern, and that is where the film can occasionally feel alienating. This is a film built on the craftsmanship of the medium (direction, cinematography, acting), letting audiences fill in the blanks. There also just isn’t much going on, with the ending feeling as a no-brainer that lacks a spark. Essentially, the film is constantly pushing the audience away from truly caring about anything happening, and factoring in that even for a 100-minute running time, things tend to drag causing the mind to wander. For example, the title card for the film appears as slightly over 20 minutes in, immediately following the death of Kyra’s mother which is nothing more than lengthy scenes displaying personal care along with her sickness.
Regardless, as a vehicle for Michelle Pfeiffer to flat-out act, Where is Kyra? is effective. From the opening moments, she is placed into a crummy situation that only worsens, and for as little character development as there is it is easy to empathize with her struggle because we do see her try and try to dig herself out of the hole that she doesn’t feel responsible for being stuck in. It takes a remarkable talent to sell and make work the film’s shortcomings, but she mostly succeeds. Unfortunately, the beautiful shot framings and her winning performance are the only elements worth recommending, but then again, they are top-notch ingredients to this middling feature.
Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★
Robert Kojder is a member of the Chicago Film Critics Association and the Flickering Myth Reviews Editor. Check here for new reviews, friend me on Facebook, follow my Twitter or Letterboxd, check out my personal non-Flickering Myth affiliated Patreon, or email me at MetalGearSolid719@gmail.com
