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+)
