"Nine Lives" is a pretty unusual movie: nine slices of life, each a single shot, and each focusing on a female character. The stories are all quiet, everyday dramas, often ending before they achieve a complete resolution, and while a few of the themes are edgy, they're never treated with sensationalism. It's the polar opposite of the flashy, jokey, commercial Hollywood blockbuster.
Though characters reappear from one vignette to the other, these stories are connected more by theme than by character. There's an obvious theme about the roles that women play-- mother, daughter, sister, wife, etc.--and how these roles can conflict with one another and cause distress. In the first three stories, the main female character gets so distraught that she ends up crying--though a good challenge for actresses, this seems to reinforce stereotypes that women are weepy. Luckily, some of the other women are more resilient.
Also running throughout is a theme about the impossibility of communication, even between loved ones. Sometimes this theme is dramatized in subtle, effective ways, such as an imprisoned woman talking through glass when her daughter visits, or a teenage girl mediating between her parents. Other times this seems more contrived, especially the decision to make one character's ex-husband a deaf man who uses sign language.
Because of the recurring characters, "Nine Lives" is also one of those recent Los Angeles ensemble movies about how everyone is connected. (e.g. "Crash," "Magnolia.") Here the connections are clever but not especially profound. Having a puzzle like this to solve while watching the film helps hold your interest, but the puzzle feels incomplete. I was waiting for everything to come together at the end, but the last vignette, featuring Glenn Close and Dakota Fanning in a cemetery, has no characters from the other stories in it. Thematically speaking, though, it's not a bad way to end the movie.
Ultimately, "Nine Lives" shows that there are just as many pitfalls as pleasures in its unique style of film-making. It's wonderful to be reminded of the potential of long takes, how fluidly cameras can move nowadays and how well talented actors can sustain their performances. But while a typical movie would cut around the most mundane parts of life--people walking from one place to another, for example--"Nine Lives" has no choice but to show this. I also wished for more striking visual imagery or close-ups of the actors' performances, but due to these technical limitations, most of the movie is in medium or long shot.
Some people would claim that "Nine Lives" is inherently a great movie because it's not flashy or funny or commercial. But after seeing it, appreciating its technical qualities but feeling lukewarm about its overall effect, I've come to realize that flashiness is not always a bad thing. This is a movie that sorely needs some zest and energy in order to feel truly alive.
Though characters reappear from one vignette to the other, these stories are connected more by theme than by character. There's an obvious theme about the roles that women play-- mother, daughter, sister, wife, etc.--and how these roles can conflict with one another and cause distress. In the first three stories, the main female character gets so distraught that she ends up crying--though a good challenge for actresses, this seems to reinforce stereotypes that women are weepy. Luckily, some of the other women are more resilient.
Also running throughout is a theme about the impossibility of communication, even between loved ones. Sometimes this theme is dramatized in subtle, effective ways, such as an imprisoned woman talking through glass when her daughter visits, or a teenage girl mediating between her parents. Other times this seems more contrived, especially the decision to make one character's ex-husband a deaf man who uses sign language.
Because of the recurring characters, "Nine Lives" is also one of those recent Los Angeles ensemble movies about how everyone is connected. (e.g. "Crash," "Magnolia.") Here the connections are clever but not especially profound. Having a puzzle like this to solve while watching the film helps hold your interest, but the puzzle feels incomplete. I was waiting for everything to come together at the end, but the last vignette, featuring Glenn Close and Dakota Fanning in a cemetery, has no characters from the other stories in it. Thematically speaking, though, it's not a bad way to end the movie.
Ultimately, "Nine Lives" shows that there are just as many pitfalls as pleasures in its unique style of film-making. It's wonderful to be reminded of the potential of long takes, how fluidly cameras can move nowadays and how well talented actors can sustain their performances. But while a typical movie would cut around the most mundane parts of life--people walking from one place to another, for example--"Nine Lives" has no choice but to show this. I also wished for more striking visual imagery or close-ups of the actors' performances, but due to these technical limitations, most of the movie is in medium or long shot.
Some people would claim that "Nine Lives" is inherently a great movie because it's not flashy or funny or commercial. But after seeing it, appreciating its technical qualities but feeling lukewarm about its overall effect, I've come to realize that flashiness is not always a bad thing. This is a movie that sorely needs some zest and energy in order to feel truly alive.