Frozen River

"For me, the human face is the most important subject of the cinema.” -- Ingmar Bergman

Observe the face of Ray. No. First, observe the toe of Ray. It sports an old tattoo, a remnant of wilder times. Now, observe the face. It’s lined; worried. The eyes, bordered in basic mascara, don’t blink away the cigarette smoke wafting from the downturned mouth. They do blink away tears formed in flicker of despair. The face, so near to crumbling, pulls itself together and Ray Eddy straightens, goes back into her single wide, and does her best.

Courtney Hunt, the writer and director of FROZEN RIVER, understands that Bergman was right. Hunt knows how to build a story, inspire pathos, pace a scene, and create near-unbearable tension, and she does it by focusing on faces. Whether we’re watching Ray, brought to life in an Oscar nominated performance by Melissa Leo; Lila, played with quiet assurance by Misty Upham; or the people who need them; we care about them because their faces compel us to do so.

Because of this, FROZEN RIVER takes a place among the most compelling films I’ve seen this year. This film hooked me in its first five minutes through the extraordinary power of the human face, and it hasn’t let go of me yet. Its dilemmas, its characters, its milieu feel absolutely real as I dwell on them, and I find that its power grows with greater consideration.

This is Courtney Hunt’s first film, and it’s a masterpiece. IMDb tells me that her next feature will be called Northline and, though I have no idea what it’s about, I plan to see it. This is a woman who knows what she’s about, and who understands that it’s all in the face.