Greetings again from the darkness. Creativity is such an intangible topic … so esoteric in nature that those most driven by it are likely misunderstood by everyone else. The second feature film from writer-director Nicole Riegel (HOLLER, 2020) focuses on a talented, yet frustrated troubadour living in Cincinnati.
Dandelion (played beautifully by KiKi Layne, IF BEALE STREET COULD TALK, 2018) has a three-nights per week gig at a local hotel bar. Whether she plays familiar covers or her own original songs, the bar audience pays her little attention, opting instead for personal chatter and cell phone time. The gigs provide a paycheck, but it's not enough to cover her expenses, and those of her sick mother (Melanie Nicholls-King). Mom doesn't exactly help her own situation, and neither does she offer much encouragement to her daughter, generating more friction between the two.
It's the age old "paying your dues" syndrome that so many musicians experience. When the bartender shoves a flyer at her, Dandelion scoffs at the notion of playing a music festival at a South Dakota motorcycle rally … so we know immediately she'll be headed there, selling off her beloved Gibson guitar and leaving mom at home. Once in South Dakota (Sturgis is never mentioned), her time on stage doesn't go well for Dandelion, and neither does much else. Well, that is, until sparks fly with fellow musician Casey (Thomas Doherty, "The Lodge"), one who surrendered his own dream years before. The sparks are both romantic and musical, though everyone but Dandelion knows Casey from Edinburgh is not all he seems.
The two bond through songwriting and other intimate activities … right up until the not shocking twist occurs. I couldn't help but think of the similarities (and differences) between this and two other films, ONCE (2007) and FLORA AND SON (2023). Chasing dreams and creating music never stops for Dandelion, despite the constant influences and hurdles. The music is definitely a standout here, as it's written by twin brothers Aaron and Bryce Dessner of The National.
Director Riegel and cinematographer Lauren Guiteras use a heavy dose of close-ups and tight shots to convey the strains of emotions, especially for Dandelion, while also serving up some beautiful shots and unusual camera angles. The camera work here is as artsy as the music. The ending finds Dandelion working through her pain to discover her true self. While not a masterpiece, there is enough depth here to set it apart from many indies.
Opening in theaters July 12, 2024
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