The end of any film festival is bittersweet. As much fun as they can be, by the end you’re nearly starving to death, deprived of sleep, and missing your loved ones. Nantucket is the Goldilocks of the festival circuit, as the five-day span is just the right amount of time.
I spent the final day here catching three distinctly contrasting films. First up was Dawn Porter’s The Lady Bird Diaries, a compelling documentary about our 36th First Lady, Claudia “Lady Bird” Johnson. Using over 123 hours of audio tapes, the film takes what we thought we knew about Lady Bird and adds multiple dimensions to her character. Jumping right in with the assassination of John F. Kennedy and the swearing in of Lyndon B. Johnson, The Lady Bird Diaries shows the First Lady’s ability to recognize the historic times she was living through, and the importance of documenting the era from her perspective via an audio diary. The 1960s were a deeply turbulent era in our nation’s history. From the assassination of JFK to the impactful Gulf of Tonkin incident, from the landmark Civil Rights Act of 1964 to the historic Selma march, and from the complexities of the Vietnam War to the tragic assassinations of Martin Luther King, Jr. and Robert F. Kennedy, The Lady Bird Diaries vividly captures the emotional transition from an age of innocence to a time of profound change in the United States.
The film affectionately shows how LBJ confided in Lady Bird, whose brutal honesty is matched by her clear dexterity. A woman who enjoyed a glass of wine and an episode of Gunsmoke, the film makes plain the importance she played in her husband’s tenure as President, the impact she had on the beautification of the nation’s highway system and urban renewal projects, and as a champion of conservation efforts. To Lady Bird, beautification meant “clean water, clean air, clean roadsides, safe waste disposal and preservation of valued old landmarks as well as great parks and wilderness areas.”
Powerful and poignant, The Lady Bird Diaries offers a captivating and enlightening exploration of an under recognized First Lady. The film skillfully utilizes archival footage and audio diaries to capture a volatile era through Lady Bird’s perspective and magnificently illuminates her profound historical significance.
Next was John Slattery’s comedy/thriller, Maggie Moore(s), starring Jon Hamm as Policy Chief
Jordan Sanders, a widower who investigates the murders of two women with the same name. While working the case, Sanders falls for Rita (Tina Fey), the nosy neighbor of the first victim. With the assistance of Deputy Reddy (Ted Lasso’s Nick Mohammed), Sanders works to unravel the mystery of the two murders while seeking to find happiness in his personal life.
Maggie Moore(s) is a peculiar film that I quite enjoyed. Its quirky and ill-fated characters share DNA with a more whimsical version of a Coen Brothers film. The clever dialogue – which perfectly complements the natural chemistry between Hamm and Fey – and the simplicity of the story makes this an easy watch.
Finally, we wrapped up the festival with the closing night film, Marc Turtletaub’s Jules, starring Sir Ben Kingsley, Harriet Sansom Harris, and Jane Curtin. Shifting gears from producer (Little Miss Sunshine, Loving) to director, Turtletaub chose Gavin Steckler’s unique script immediately after reading it. He enjoyed the idea of taking heavy subject matter – dementia and the loss of one’s facilities – and finding a way to add humor to it. In turn, the cast also responded within a few days of receiving the screenplay, all wanting to be a part of this film.
Kingsley plays Milton, an aging widower struggling with the onset of dementia. He is an old, isolated man who still finds ways to stay involved in his community by making small, specific
requests at the town council meetings. His daughter (Succession’s Zoe Winters) is increasingly concerned with his failing health.
Milton finds company when a being from another planet crashes into his azaleas. He takes responsibility for the creature, extending his care towards it. As Milton gradually reveals the presence of his visitor to others, his actions only serve to alienate himself further, as those around him perceive his grasp on reality slipping away. Sandy (Harriett Sansom Harris) and Joyce (Jane Curtin), two neighbors who share a sense of loneliness with Milton, are the only two in on the shenanigans happening at Milton’s house. The three friends work to help Jules, their newly named space friend, find his way home before government agents crack the case.
The cast is terrific and affecting. Harriett Sansom Harris, an actress I have admired for a considerable time, has been unjustly overlooked in casting decisions. You might easily recall her from standout performances in films like Licorice Pizza and Phantom Thread, among numerous other remarkable roles. She has consistently dazzled as a character actor, but now, she finally receives a substantial role that allows her to showcase her incredible talent. It becomes evident that she should have long been granted leading roles, and I eagerly anticipate more opportunities like this in her future.
Jules is an endearing and unconventional film that delves into the poignant aspects of aging while illuminating the transformative power of discovering one’s purpose. The screenplay is a breath of fresh air, characterized by its inventiveness, quirkiness, and sublime storytelling. Jules serves as the ideal closing film for a festival that honors the art of screenwriting, leaving audiences with a lasting impression and the sense of what we came out to Nantucket to celebrate.
