In an ode to his own mother, who passed away in 1999, Mike Mills (Thumbsucker, Beginners) continues to make personal cinema that is both stylistic and engaging, aided by an a-list cast at the top of their game.
For reasons unknown, Annette Bening missed out on an Oscar nomination for her beautifully truthful, nuanced performance as Dorothea, an incredibly open-hearted but equally flawed human being who has a knack for picking up stray men and women who end up openly loitering in her grand but modest house. These include Elle Fanning’s Julie, the daughter of a single-parent therapist; Greta Gerwig’s Abbie , who has survived cervical cancer; and Billy Crudup’s William, who lives by the New Age life philosophy of 1979 Southern California where most of the story takes place.
Circling the orbit of these characters is Jamie (Lucas Jade Zumann), Dorothea’s teenage son who juggles the urges of his loins with the sensitivity he has inherited from his mum.
Each character gets their own chapter, flashing back to key moments in their lives. But it’s not your ordinary flashback, these are flourishes that we’ve come to expect from Mike Mills. If you had to compare Mills’ approach to cinema, it’d be his contemporary Spike Jonze – flashy modern stylistic choices but never at the disservice of character.
A performance piece, if there’s a flaw it’s that the film feels flat at times, and struggles to shift gears during its first two acts. But if you stick with it, there’s plenty of reward in this highly personal film for Mike Mills. And as per the title, it’s ultimately a rumination and an affirmation on the female lifeforce, and its evolution throughout the 20th century, something that is incredibly important to acknowledge now more than ever.