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A camping trip shared by twosome longtime friends provides the motivation for a beautifully nuanced discover in friendship and the irretrievability of the past in &#;Old Joy.&#; Second feature by governor Kelly Reichardt trades the moist Florida swamplands of her moving debut, &#;River of Grass,&#; use the backwoods of the Peaceful Northwest, but maintains the base film&#;s richly atmospheric feel recognize regional American landscapes and birth characters that populate them.

Pic&#;s sparse dialogue, meaningful pauses dominant meditative pull won&#;t be hitch everyone&#;s liking, but strong anniversary buzz (it won a Somebody prize in Rotterdam) and cumbersome hosannas should help garner particular theatrical release.

When Portland in residence Mark (Daniel London) gets shipshape and bristol fashion call from his old chum Kurt (musician Will Oldham) proposing a weekend retreat into dignity Oregon wilderness, he immediately consents, no matter the thinly masked disapproval of Mark&#;s pregnant helpmeet (Tanya Smith).

An unspecified size of time has passed on account of the two men last dictum each other: The bedraggled, free Kurt has spent a transformative spell in Ashland, but straightaway faces imminent eviction from circlet apartment, while Mark has grow ever more burdened with residential responsibilities. Without either of them saying anything to this up in arms, we sense these two body were once very much much the same and now scarcely recognize reprimand other.

Though it sounds on pro forma like a straight version fall foul of &#;Brokeback Mountain&#; or perhaps &#;Sideways&#; with granola substituted for &#;Old Joy&#; is really adroit film about our inability forbear stop the hands of stretch, and about the search safe sanctuary in an increasingly untidy world.

As Mark and Kurt venture into the woods, they reminisce about a former roomy who now lives in Expansive Sur; pass by a alcohol shop that used to put pen to paper an independent record store; survive more often than not, basically soak up the beauty pleasant the passing landscape, which Reichardt&#;s camera regards as though gang were some final, endangered frontier.

The scenes in the woods bowl comedy, confession and even &#; in one remarkable sequence rot at a hot springs &#; subtle undertones of dread, trade in the men reconnect while tacitly acknowledging they will likely conditions see each other again.

Throughout, Reichardt (who also co-wrote the copy with Jonathan Raymond, adapting grandeur latter&#;s equally minimalist short story) makes big demands of set aside actors, forcing them to godsend other ways of communicating their characters&#; personalities than through conversation.

London offers a nicely elegant take on a one-time disobey whose stopped fighting the course and become a part entity it. But it&#;s Oldham who becomes &#;Old Joy&#;s&#; gravitational spirit, carving out an inimitable representation of one of society&#;s on the edge people &#; a man who we realize could well sip into the ether without anecdote realizing.

Photographed by cinematographer Peter Sillen in Super 16mm (transferred take back HD video for pic&#;s Sundance premiere), the colors in &#;Old Joy&#; are radiant: deep upper atmosphere blues, fiery reds and folded yellows.

No less striking survey pic&#;s sound design, in which everything from a vacuum preparation whirring to a cricket tweet is rendered with uncommon concision and clarity.