Three Eco-terrorists play dam busters with little regard to the repercussions of their explosive act of violence. Kelly Reichardt explores the emotional and intellectual landscape of three radicals whom are chillingly not far removed from ordinary peaceful protesters.
The plot concerns Josh, Dena and Harmon as they plan to blow up a hydroelectric dam because of its environmental impact. Their goal seems to be a purpose in and of itself: that is, the act is the purpose and not the outcome. They feel justified in destroying this artificial construct without considering the destructive fallout to the environment and the potential to harm other people. Thus the characters fail to consider the irony of their actions. Director Kelly Reichardt tells an anti-action story: instead of relying on the typical conventions of the Action genre she brings the story into sharp focus, her lens peering into the dark silences and mundane routines of three lives about to change dramatically. From purchasing the titular boat named NIGHT MOVES to securing 500 pounds of fertilizer to build the bomb, Reichardt portrays how typical and rather easy this task becomes which makes the story all the more frightening! When it comes, the explosion is only heard off-screen, which allows a detachment between the act and its implications.
Director Kelly Reichardt also drains the story of melodrama by refusing to reveal or exacerbate the relationships between the characters. It’s never explicitly mentioned that Josh and Dena are a couple (or in the process of becoming one) though they are often shown together. Reichardt takes this implication and undermines this trope by keeping the information out of the story. We only learn that Dena comes from a rich family when they are talking about paying cash for the boat. So is she just a hanger on or a romantic interest? When Josh discovers Dena and Harmon screwing he seems a bit disappointed but again, this is only through subtle body language and not confrontation.
The final Act becomes incredibly tense as the three split and vow to have no contact with one another. The camera focuses tightly upon Josh who is afraid that Dena will succumb to her guilt and confess their crime. Turns out, an innocent man was killed by the flood waters and day by day the newspapers and newscasts are filled with stories of this man’s life and family. This drives Josh past the point of endurance as he is driven to one desperate fatal act. He becomes fueled by self-preservation and not idealism; Josh tracks Dena down and makes sure she remains quiet…forever.
Reichardt frames the murderous act in extreme close-up forcing the audience into a violent conspiracy: here, she does not give us the luxury of emotional detachment or objectivism. Dena’s gurgling sound as Josh strangles her to death is gruesome but strangely the killing seems rather mundane, like the earlier “gunpowder” plot. We are given clues that Dana probably told her friends (it lead to Josh being kicked out of his commune). Josh takes off and is last seen in another part of the state, looking for work. But it seems he is destined for a mobile life of paranoid conspiracies…but it may be better than no life at all.
Final Grade: (A+)