A homeless man is going from shelter to shelter, trying to find a way to approach his estranged daughter.
In a depressing and honest way, it reveals an America to which most people turn a blind eye. One can easily extrapolate and claim that it reveals a world most people turn a blind eye to. Writer/Director Oren Moverman, the man behind The Messenger (2009), Rampart (2011), and The Dinner (2017) does an extensive research on homelessness in New York and brings to our attention an issue that we walk past daily no matter where we live. Richard Gere, a man who is an advocate for the homeless in real life, fully understands Moverman’s vision and commits 100% to the character, delivering a totally different than usual performance. Cinematographer Bobby Bukowski frames him through reflections, amongst bystanders, and from a distance (also careful when to go close), and shows without telling how George positions himself within society. Respectively, editor Alex Hall leaves that protracted zoom-in and zoom-out shots uncut, making the audience “look” for a significant amount of time what the bystanders don’t – parallelism with ourselves that have probably done the same in real life. An excellent example of mise-en-scène and how it creates meaning.
The off-screen space, though, also speaks volumes. Very interestingly, most of the time, you listen to dialogues from an unspecified location. With a decent surround, one can tell if it’s from behind, left, or right, but it is of no importance. What matters is that it is happening, George listens to it as we do, but as he pays no attention to who says what, it stays out of the frame. A personal interpretation is that all this diegetic sound is pointing at how loud and verbose the big city is and how little it matters to someone who doesn’t know if or where he will find his next meal and bed.
I highly recommend this film, but a warning needs to be issued. The film feels like one act. Something that someone should have probably noticed in postproduction and shave off about half an hour. Time out of Mind feels endless as, unfortunately, nothing is happening. Ben Vereen and Jena Malone support him to their best abilities, but their role is limited. Once again, unfortunately, what at first seems to be an extensive character development stagnates the story development and can lose the audience’s attention with its inactivity.
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Solidarity for all the innocent lives who suffer the atrocities of war!
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