Movies with Meaning, by Brent Marchant, TGMN Movie Correspondent

The Challenges and Rewards of Forgiveness

 

Forgiveness is one of the most challenging but potentially rewarding exercises in which we can engage. Mustering up the courage and gumption to take on this task may be difficult, even anguishing. But, once we make our way through this potentially intimidating process, we often find ourselves feeling renewed, brimming with rejuvenated emotions and grace that we never knew we possessed. In that sense, then, it’s also a revelatory experience, one that can light the way to fulfilling new and satisfying accomplishments, achievements that might have always seemed out of reach. Such are the themes considered in the enlightening new Norwegian domestic comedy-drama, “Sentimental Value” (“Affeksjonsverdi”) (web site, trailer).

Stage actress Nora Borg (Renate Reinsve) has enjoyed a successful career, despite a sometimes-challenging upbringing. She and her younger sister, Agnes (Inga Ibsdotter Lilleaas), grew up in a household led by her father, Gustav (Stellan Skarsgård), an accomplished filmmaker, and mother, Sissel (Marianne Vassbotn Klasson), a gifted therapist. But life under those parents wasn’t always easy. Despite an initial strong romantic attraction between them, Gustav and Sissel gradually grew apart, arguing frequently and making for a tense environment for their daughters. Then, one day, after more confrontation between them, Gustav left, leaving his wife to raise her two children on her own, a decision that Nora always held against her dad.

These conditions notwithstanding, however, Nora has made a name for herself professionally, even though her personal life has never attained the same degree of success. She has been single for most of her adult life, and, whenever she found herself getting close to someone romantically, she always felt that the relationship would never last, a prophecy that virtually always came true and was undoubtedly a side effect of the influence that Gustav and Sissel had on her. But, when Sissel dies, things begin to change.

For the first time in years, Gustav makes an appearance in his daughters’ lives to attend Sissel’s wake. He and Nora are politely cordial toward one another under the circumstances, but he informs her that there’s another reason why he’s shown up: He’s written the script of a movie based significantly on Nora’s life, and he offers her the part to essentially play herself. He calls it a gift to her, contending that not only is she the best choice for the role, but that she’s essentially the only one who can portray it. Gustav is also convinced that it’s a role that could work wonders for the future of her career.

But Nora reacts in a way that her father doesn’t expect: She turns him down. In part it’s because she’s fundamentally uncomfortable playing herself, given that doing so could dredge up many ghosts of her past that she has struggled to put behind her. She’s also unclear about Gustav’s motivation for writing the script and offering her the role – does he really believe that she’s the best actress for the part, or is this some kind of attempt at making up for the parenting mistakes of his past? And, if it’s the latter, she wants nothing to do with something that he’s drummed up to assuage his own guilt.

Needless to say, Gustav is disappointed by her decision. In part, he’s trying (or has at least convinced himself he’s trying) to do something nice and beneficial for Nora (and, if it helps him to work through his demons, so much the better). But, perhaps even more importantly, Gustav sees this project as a comeback film: He hasn’t made a movie in years, and it’s been even longer since he’s had one that was an artistic and financial hit. And, given his advancing age, failing health and worsening drinking habit, this could be his last shot at shooting a film of any kind. The clock is ticking ever louder, and he wants to avail himself of the opportunity to make his legacy project while he still has the chance.

But is Gustav really as broken up about Nora’s decision as he leads others to believe? While attending a retrospective commemoration of his filmography, he meets an aspiring American starlet, Rachel Kemp (Elle Fanning), who is quite taken with his work and less than subtly expresses a desire to work with him. In turn, Gustav is impressed with the young actress and ends up offering her the part, an opportunity that she eagerly accepts. However, the news doesn’t settle particularly well with Nora. The idea of seeing someone else playing her is more than a little unsettling. And, because of that, can she quietly sit back and watch as this scenario plays out?

As preproduction work begins, it leaves Rachel somewhat unnerved, too. She begins to feel weirded out by the prospect of being an outsider stepping into what’s essentially an intimate family matter. She also wonders if casting an American as a member of a Norwegian family will come across as authentic and believable. Can she get the accent right? And will she be seen as someone who effectively captures Scandinavian cultural considerations in her portrayal? This leaves her with many doubts about whether she can convincingly carry on in the role.

As events play out, the impact of these considerations broadens even further, such as when Gustav offers a role to his grandson, Erik (Øyvind Hesjedal Loven), Agnes’s son. Having been a firsthand witness to what went on in her upbringing, she, too, has unsettled feelings about her dad and is uncertain that she wants her child to be a part of reliving that. She doesn’t have the same degree of animosity toward Gustav that Nora does, primarily because her older sister helped to shield her from some of the nastiness that unfolded in the household, but she’s still reluctant about letting herself or her family members from becoming involved.

Before long, it becomes obvious that matters are not transpiring as anyone had hoped for. But, at the same time, that’s not to suggest that any of them wants circumstances to continue along the same lines as they have for so many years. So what are they to do? That’s what this film seeks to sort out, and resolution will ultimately depend on what the principals each believe about themselves, their situation and their relationships with one another. Those beliefs, in turn, will impact how events materialize, as they play a central role in what ultimately manifests, the philosophy that makes such outcomes possible. It’s unclear whether Gustav, Nora, Agnes or Rachel have ever heard of this school of thought, but it’s intriguing to watch what happens as they seek to familiarize themselves with its principles and what they do with them as they work their way through these quietly challenging circumstances. Can they make these conditions work to their benefit, or will the situation only become increasingly complex and difficult? That’s where their beliefs can truly be their guide.

Considering where circumstances stand in this film, the characters clearly have options as far as how they respond, which gives each of them much power in terms of how events unfold. The question thus becomes, how will they react? And, as noted above, this is where their beliefs come into play, particularly when it comes to deciding which beliefs they will choose to embrace.

From where Nora and Agnes stand, they can choose beliefs that hold on to the anger and bitterness they’ve felt toward their father for so many years. But what will they gain from that? While it’s true that they may realize a certain degree of self-satisfying retribution toward Gustav, a form of payback for his transgressions toward them and their late mother, will that suffice for the long term? Indeed, does maintaining such ill will provide any relief for their long-suffering anguish? After all, the events of the past can’t be changed, so is this form of “satisfaction” truly rewarding?

On the other hand, the daughters could opt to accept beliefs rooted in forgiveness. That might be seen as a hard pill to swallow, but isn’t unburdening themselves of the pain they’ve shouldered for so long preferable to continuing to hold onto it? And isn’t the possibility of having a shot at rebuilding the relationship with their father a better alternative than continuing to thrust scorn in his direction, especially given that his remaining time in their lives is likely to be limited? Obviously, only Nora and Agnes can answer those questions, but they should seriously consider what potential benefits could come from accepting forgiveness-related intents, no matter how difficult taking the first step toward it might be.

Gustav has choices when it comes to his beliefs, too. He’s been a jerk for a long time, and admitting the errors of his ways could be quite a hard pill of his own. But what will staying stubbornly selfish and unfeeling get him in the long run? Contrition calls for courage, and being willing to openly embrace it can be difficult. But consider the alternative – continued estrangement and no chance at making amends for a brighter future. The question remains, however, can Gustav succeed at this?

A key component in this has to do with embracing beliefs related to sincerity, those associated with living a life rooted in being one’s own authentic self. Considering Gustav’s questionable reliability through the years, this behavior certainly gives his daughters plenty of cause for skepticism. He also doesn’t help his own case by some of the belief decisions that he makes in the wake of Nora’s rejection of his offer. Some of them clearly lend credence to the notion of him being yet another leopard who refuses to change his spots. The speed with which he seeks to cast Rachel in the lead role that Nora turns down, for example, makes it appear that he may not be as distraught about his daughter’s rejection as he claims to be. Indeed, this action probably gives Nora pause to question his sincerity – was he being genuine in offering her the role, or was he acting out of expediency, especially considering the rapidity with finding a replacement. Were his intentions genuinely based on making amends with Nora or with finding someone – anyone (including someone seemingly as potentially unsuitable as Rachel to play the part) – to assist him in realizing the dream of producing his legacy project? This calls for some serious soul-searching, particularly on Gustav’s part, especially where Nora’s justified distrust is concerned.

Gustav gets some “help” with this process, too, from Rachel’s doubts about her participation in the production. Working with the famed director may represent a dream come true for her, but are the strings attached to it worth it in the end? While it seems she has some genuine talent, as seen in scenes where she rehearses for the role, that doesn’t necessarily equate to Rachel being the best choice to play the part. Indeed, does Gustav truly believe that an American actress is the best choice for playing a character who’s part of a Norwegian family? Is this based on an informed professional assessment on his part? Or is it a matter of mere logistical convenience? Even more questionable is the possibility that he may have opted to cast Rachel as a surrogate for his own daughter, unwittingly employing her in a quasi-therapeutic context for working through the longstanding, unresolved issues he’s been experiencing with his daughter. (The same might also be said for Gustav’s offer to cast Erik in a role as a means of resolving issues in his relationship with Agnes.) Whatever the reason for these beliefs, choices and decisions, though, it’s time for Gustav to get real about the intent behind these matters if he ever hopes to make authentic progress in dealings with his family.

But, then, this is also where the beauty of beliefs comes into play. They provide us with an infinite range of possibilities and choices, and we can employ them effectively in myriad ways to resolve our challenges, even in potentially problematic endeavors like engaging in forgiveness. In that sense, they carry an intrinsic “sentimental value” that we can draw upon if we choose to do so in realizing positive, renewing outcomes. In the end, though, the question remains, are we capable and willing to do so? Looking within can provide valuable insights into the answers and capabilities we seek. We can only hope that we listen to what they have to say.

When a film has the capacity to provide a template for overcoming domestic discord, promoting forgiveness and helping to heal one’s past, it’s to be truly commended for going beyond being mere entertainment or even an admired artform. It aspires to become a noble, laudable cinematic godsend, one verging on providing a valuable service to those requiring much-needed guidance and direction in their lives. At the risk of exaggeration, such is the case with this latest offering from writer-director Joachim Trier, arguably the best work of his storied career. As challenging as the dynamics of this scenario can be for all concerned, their collective story provides these characters with a valuable opportunity for healing, personal and professional growth, and a fresh start for the future. In imparting this wisdom, the filmmaker employs a rather involved storyline (more so than what’s outlined here and, at times, a little too involved for its own good, particularly where subplots involving Gustav’s and Sissel’s families are concerned). However, the narrative nevertheless eagerly and successfully takes on the ambitious task of intertwining various aspects of art and life and how one might be drawn upon to address the challenges and opportunities of the other.

While the picture might potentially be seen as somewhat overlong, the director manages to capably cover considerable ground without belaboring his material or incorporating a plethora of extraneous elements. Moreover, the deftly penned screenplay effectively keeps the picture from becoming too heavy-handed through the inclusion of strategically placed comic relief, including several delightfully witty nudges at a well-known Scandinavian furniture retailer. These assets are further enhanced by this release’s gorgeous, creative cinematography and the superb performances of its fine cast, particularly Reinsve, Skarsgård and Fanning, all of whom turn in decidedly award-worthy portrayals representing some of the best work of their respective careers.

As the winner of the Grand Prize of the 2025 Cannes Film Festival and a nominee for the event’s Palme d’Or (the festival’s highest honor), “Sentimental Value” is yet another standout effort from this gifted Norwegian filmmaker, one very much in the same vein as – if not, arguably, even better than – his eminently praiseworthy previous offering, “The Worst Person in the World” (“Verdens verste menneske”) (2021). And, for the filmmaker’s efforts, his project has been richly rewarded with seven Critics Choice Award nominations, eight Golden Globe Award nods, two National Board of Review honors, and numerous accolades from various film festivals and critics’ organizations, largely in the highly coveted acting, writing, directing and best picture categories. The film is nearing the end of its theatrical run in many markets, but it may still be screening in some moviehouses, so check your local listings. It’s also available for streaming online.

During this holiday season, a time of year when the promotion of goodwill toward others is (or at least should be) on many of our minds, “Sentimental Value” makes a particularly good viewing choice for those looking to put these ideas into practice, especially those who can relate to the experiences of the characters depicted here. Indeed, it’s often been said that the act of forgiveness is ultimately something more beneficial to the forgiver than to those being forgiven. And, based on some of my own experiences, I can concur with the wisdom of such thinking. Yes, it can be challenging to take the first step toward doing so, but, in the end, the effort is well worth it. If this is a step that you’re considering taking toward individuals who are in (or once were in) your life, give the idea some thought. Be kind to others, but be kind to yourself as well.

A complete review is available by clicking here.

Windie Award Nominations Announced

 

Chicago Indie Critics, the Windy City movie reviewers organization that celebrates diversity in film criticism, has announced the nominees in its ninth annual Windie Awards competition. Details on the nominees, including a complete list of contenders in the program’s 27 categories, is available by clicking here. Voting among the organization’s members has recently closed, and the winners will be announced at a ceremony for members and their guests on January 15, with social media announcements to follow shortly thereafter.

As a proud member of this organization, it’s been a distinct pleasure to participate in the process of honoring these nominees. More to follow when the lucky recipients are announced.

The Merits of ‘the Good Lie’

 We’ve all been taught the wisdom behind the notion of “honesty is the best policy.” It’s sound, solid guidance that’s nearly always appropriate (provided it’s not carried to an unhealthy extreme). But what about the opposite of this advice: Is there ever any benefit in a falsehood, the so-called “good lie?” At first glance, it might be easy to dismiss this idea out of hand, but what if something less than truthful is capable of imparting insight, inspiration or comfort to someone in distress? In cases like that, can it realistically be summarily rejected? Those are intriguing questions raised in the new comedy-drama-character study, “Eleanor the Great” (web site, trailer).

Eleanor Morgenstein (June Squibb) has lived a long and happy life. The spry 94-year-old former New Yorker has spent the past few decades in retirement in Florida, first with her devoted husband, who died 12 years ago, and since then with her longtime best friend and roommate, Bessie Stern (Rita Zohar). But, when Bessie passes, Eleanor is not so sure she can – or wants – to continue living on her own, so she decides to move back to the Big Apple to be with her daughter, Lisa (Jessica Hecht), and grandson, Max (Will Price).

Once back in New York, however, Eleanor now finds herself on her own much of the time. Lisa works during the day, and twenty-something Max has his own life. Eleanor feels the loneliness of being by herself, despite being in the company of family. And, admittedly, Lisa is somewhat uncomfortable leaving her mother on her own, suggesting that she consider moving into an assisted living center, an idea that Eleanor is unsure about. In the meantime, to help Eleanor adjust to her new surroundings and make new friends with others of her own age and background, Lisa enrolls her mom in a class at the local Jewish Community Center. However, due to a misunderstanding, Eleanor finds herself attending the wrong class – a support group meeting for Holocaust survivors.

Eleanor is dumbstruck when she learns where she is, but the group members are so warm and welcoming that she doesn’t know how to react. And, unbeknownst to them, they’re unaware that Eleanor actually spent World War II stateside; they simply assume that, because of her Jewish heritage and “enrollment” in their class that she’s where she’s supposed to be, especially when she doesn’t let on otherwise. And so, after exchanging introductions and extending greetings to the group’s newest member, the facilitator (Elaine Bromka) asks Eleanor to share her story. So what is she supposed to do now?

Caught off guard, Eleanor warily but convincingly begins telling a story – a true one, but not her own. She proceeds to relate an account of the wartime experience of Bessie’s late brother, a heart-rending tale that her former roommate told her late one night when she couldn’t sleep, a story that profoundly moved Eleanor and that enabled her to offer comfort to her troubled friend. And, interestingly enough, Eleanor’s account to the group has the same effect on its members. They applaud Eleanor’s candor in opening up and being so willing to freely tell “her” story, unaware of the truth behind what they just heard.

To complicate matters further, this session of the group has an invited guest present, Nina Davis (Erin Kellyman), a young Jewish journalism student who’s looking to write about the experiences of the members. Like the group’s other participants, Nina, too, is seriously moved by “Eleanor’s” story and would like to feature “her” experience as the focus of her article. On top of this, the group members, in turn, also introduce Eleanor to Rabbi Cohen (Stephen Singer), an influential community religious leader at a nearby synagogue. Before long, Eleanor’s “experience” takes on a life of its own, snowballing out of control simply because her embarrassment kept her from speaking up in the first place.

In the ensuing days, Eleanor spends considerable time with Nina, and the two become good friends, a relationship that proves mutually beneficial. Eleanor gets a new companion to spend time with, and Nina forges a bond with her new confidante. That’s important to Nina, given that, like the group members, she has also suffered a tragedy of her own – the sudden accidental death of her mother, an incident that has left her unconsolable for months. But Eleanor’s apparent strength gives Nina much to draw from, a development she shares with her father, Roger (Chiwetel Ejiofor), a popular local broadcaster who, like Nina, has had difficulty overcoming the grief associated with the death of his wife. He, too, is intrigued by Eleanor’s experience and wants to feature her story on an upcoming episode of his TV show. Now what?

In an attempt to keep matters from being revealed, Eleanor tirelessly works at concealing the truth to everyone around her. This becomes particularly challenging where Lisa and Max are concerned, and they become worried when Eleanor’s behavior starts to appear erratic. Given her age, they’re concerned that her growing unpredictability might be a sign that she could be losing it.

Considering everything that’s unfolding in Eleanor’s life, it’s easy to see where things are headed. But what specifically will transpire? And what fallout will emerge if the full measure of the truth is revealed? What impact will it have on the group members, Nina and Roger, Lisa and Max, and, of course, Eleanor? How will everyone respond to the notion that they’ve apparently been lied to? Clearly, everyone has a lot to lose. But is it possible that something beneficial might somehow arise from this scenario? Can there indeed be such a thing as “a good lie?”

In the end, it comes down to what the characters in this story believe, for their beliefs dictate what comes into being. It’s unclear whether any of the players in this story have ever heard of this way of thinking, but, considering the brink upon which they may all soon find themselves standing, they have options for how they choose to respond. And those choices are firmly rooted in the beliefs that underlie them, for they will determine what comes next. That’s a tremendous responsibility – and opportunity – for all concerned. So what will they choose? That remains to be seen, but one thing is for certain – the impact will be considerable, whatever they may decide, for better or worse.

Choice is obviously the underlying determiner in a scenario like this, and it’s just as applicable to virtually any set of circumstances we face as it is in the narrative of this film. This concept makes a wide range of options possible, yet it’s baffling how often we minimize its reach. Think of how often many of us might find ourselves saying something like “I don’t have any choice in the matter.” And then consider how limiting and shortsighted that notion truly is. Do we really have no choice in the matter, or are we simply unable or unwilling to envision the possibilities open to us? That’s important to bear in mind when we’re faced with making crucial decisions, because we may genuinely have more alternatives available to us than we think we do.

That, inherently, is a matter of belief. Consider the options open to the characters here. If they believe they’ve been lied to, they might naturally default to a belief in betrayal, regardless of whatever other considerations might be associated with the circumstances. But is that kneejerk reaction truly the only choice available to them? What about forgiveness? What about making an effort to appreciate the potentially positive effects that imbedded the lie that was told to them? Does the inspiration offered by the lie help to enlighten them or enable them to better cope with their situation? And isn’t there a benefit to be had in that, even if it’s not entirely “truthful” in the sense in which they (or we) tend to think about the nature of truth?

For her part, Eleanor may have lied that the story she told was indeed hers, but she was nevertheless truthful when it came to imparting its uplifting content. So is it fair to dismiss that material and its message out of hand? Suddenly the answer might not seem so simplistic.

To make best use of the concept of choice in our beliefs, we need to keep an open mind to assess the options open to us, particularly when it comes to determining what everyone stands to gain from a resolution that delivers the widest range of good for all concerned. And, to arrive at that outcome, we need to dispense with the notion of limitation in examining our choices. It also probably helps to give ourselves the grace of time to conduct such an evaluation. Snap decisions and hasty judgments might well hinder us in considering all of the choices that are truly available to us. Avoid rash decisions, and take the time necessary to weigh the evidence of what happened and what we might have gained from it.

That’s especially important when it comes to taking stock of those aforementioned benefits that might be made available to us, even if they’re rooted in what we perceive to be a lie. To be sure, if we stand to gain from such insights, are they really so fundamentally terrible to begin with? By standing pat on a rigid, inflexible belief position like “a lie is a lie, period,” we could easily miss something helpful or comforting that may not come to us in any other way. And that speaks to the old notion about what happens when we blindly cut off our noses.

In essence, this comes down to a question of realistically and concertedly putting our beliefs in context, to take a hard look at what we’re getting out of the scenario. Yes, we may still place tremendous faith in the notion that honesty is the best policy, and it may be natural to feel deceived by circumstances like this, but make the effort to stop, breathe and consider what we may have gained from a good lie. We may well end up grateful that circumstances have turned out as they have. On some level, Eleanor seems to understand this; let’s hope others have the wisdom to do the same.

Grief tends to be one of those taboo subjects that many of us are reluctant to talk about, let alone address. But, by failing to do so, we may end up saddling ourselves with a tremendous burden that weighs us down and from which escape can be difficult. That’s especially true for those who’ve experienced devastating losses through such events as the death of loved ones or, even more horrifically, through significant traumatic experiences. And, if an act of deception makes its way into part of that mix, the hurt can be even greater. But, if such agony can be effectively alleviated in the process, isn’t that worth it in the end?

Admittedly, this may be a hard pill to swallow when associated with an event like the Holocaust. Some viewers have expressed serious reservations about that in connection with this film, and their arguments could be seen as having merit. But, at the same time, one could make an equally strong and persuasive argument about the opposite viewpoint, and, from my standpoint, that’s one of the qualities I admire most about this film. “Eleanor the Great” represents a courageous effort that could easily come under attack for this perspective. I particularly applaud first-time filmmaker Scarlett Johansson and actress June Squibb for undertaking such a daring and audacious project.

To some, this might seem like a strange, potentially unnerving tale for a movie narrative given the subject matter, but I believe that’s precisely the point – it’s intended to shake viewers out of their comfort zones when it comes to dealing with an often-tabooed subject like grief (and, considering the back stories of the characters involved here, there’s plenty of that to go around among them). Viewers struggling with conditions like these just might find that there’s new comfort to be had even when purposely being dragged out of their comfort zone. And, when that happens, is the alleged “betrayal” perpetrated in a situation like this truly a betrayal at all if its intrinsic sincerity ultimately helps to generate a sense of solace? That’s something worth thinking about, and it’s examined here with a great degree of sensitivity and surprisingly enlightened understanding.

Making all of this work are the superb performances of the ensemble across the board, most notably Squibb, who turns in yet another stellar portrayal, one definitely worthy of awards season consideration. This is particularly true when it comes to serving up the film’s strategically placed comic relief, deftly delivered with the kind of gleeful sarcasm for which Ms. Squibb has now become famous. Sadly, “Eleanor the Great” has flown well below the radar of most moviegoers since its release earlier this year, but, now that it’s available for streaming online, here’s hoping it finds the audience it genuinely deserves, especially for those lost in their grief and who are unclear about how to find their way out of it.

If we’re to ever get past what’s holding us back, we might well have to take a bold leap of faith to get us moving once again. In that sense, we might also have to ask ourselves, does it really matter how the insights needed to achieve this are delivered to us? Indeed, if the Universe sees a lie as the best way to send its message to us, who are we to question its means for conveying it? That might seem like uncharted territory, a potentially scary, unnerving prospect. But, if it enables us to get where we want to go, what’s really wrong with that?

A complete review is available by clicking here.

Celebrating the Virtues of Compassion

When the slate gets involuntarily wiped clean, we generally have two choices available to us: (1) walking away and starting anew or (2) attempting to rebuild. Both options usually represent hard choices, not only because of the effort required, but also due to the emotional anguish we’re likely to face. Of those two choices, the restoration option can be particularly trying, given that, as we go through it, we’re constantly reminded of what we lost. However, there are also things to be gained, especially when it comes to the compassion, assistance and support we’re likely to receive from those who want to help. And that’s the message to be found in the heartfelt new story of recovery, “Rebuilding” (web site, trailer).

Some might say that fate is playing some cruel tricks on Dusty Fraser (Josh O’Connor). The Colorado rancher has been forced off the land that has been in his family for generations by a wildfire that has decimated his property. As a consequence, he’s been forced to relocate into a FEMA camp until he’s able to get himself back on his feet. He’s also had to take a job working on a road construction crew to provide him with an income source, a position far removed from his experience, expertise and interest. It’s quite an adjustment for someone who has quietly but committedly tried to make something of himself and to uphold the reputation of his family’s longstanding ranching operation. But, difficult as these circumstances might be, he’s determined to rebuild.

Unfortunately, he’s rebuilding more than the homestead he’s lost. He’s also attempting to put his personal life back together, having divorced from his ex-wife, Ruby (Meghann Fahy), and seeking to re-establish a good relationship with his young daughter, Callie-Rose (Lily LaTorre), who lives with her mother and her mom’s new romantic interest, Robbie (Christopher Young). It’s almost as challenging a venture as rebuilding the ranch, given that Dusty is often looked down upon by others as something of a failure, his loss of the family legacy being just the latest in a string of letdowns. And, considering how genuinely humble Dusty is, the disparagement being unfairly thrust upon him while he is down is anything but fair. These circumstances have left him looking rather sheepish, making it difficult to get his life back on track.

Fortunately, though, there are those who are in Dusty’s corner. Perhaps his biggest supporter is his former mother-in-law, Bess (Amy Madigan), who also lives with Ruby, Robbie and Callie-Rose. She recognizes that, despite his shortcomings, Dusty is fundamentally a good man who is doing his best under trying conditions. She appreciates the effort he’s making to be a responsible father to her granddaughter and to sincerely help out with raising her, despite the soft-spoken but undue ridicule Ruby inflicts upon him. And, because of this, Bess seeks to support and encourage him in any way she can, despite the fact that he and her daughter are divorced.

But Bess isn’t the only one trying to help Dusty. His rancher friend, Louis (Dwight Mondragon), tries to provide support, too, despite the fact that he’s experiencing dire straits of his own these days. Most notably, though, there’s much compassion and assistance to be had from Dusty’s neighbors at the FEMA camp, including Mila (Kali Reis), a recently widowed mother living with her daughter, Lucy (Zeilyanna Martinez), along with a colorful array of others (Teresa Ott Beiriger, David Bright, Nancy Morlan, Kathy Rose, Jeanine London, Binky Griptite). They’re all saddled with circumstances not unlike what Dusty is going through, but they have all pulled together to support one another as best they can, a true ray of hope under such difficult conditions.

This is not to suggest that everything goes smoothly, as Dusty finds out when he meets with a banker (Jefferson Mays) about obtaining a loan to get his ranch up and running again, especially when he learns that the scorched earth that makes up his property is unlikely to become productive again for a decade or more. Then there’s an unexpected traumatic family crisis, as well as housing complications involving FEMA management, unforeseen developments that test Dusty’s character, resolve and patience. Can he tough it out? Or are these character-building experiences designed to bolster his confidence and problem-solving capabilities? This would suggest that this scenario is as much about Dusty rebuilding (or, perhaps more precisely, reinventing) himself as it is about restoring the physical infrastructure of his life, an undertaking with implications greater than just once again securing a roof over his head.

Whatever underlying purpose underscores this experience, however it turns out will depend greatly on how Dusty views his circumstances, specifically what he believes about the character of his existence and the shape it takes as he moves forward in life. What’s more, does he believe in himself enough to see this experience through? These considerations are crucial in light of the role they play in shaping the beliefs responsible for framing his reality, the philosophy that makes such outcomes possible. It’s unclear whether he’s aware of or familiar with this school of thought, but, given the ramifications involved, he’d be wise to consider it if he hopes to obtain the results he seeks. Is he up to the challenge? Considering everything that’s at stake, he’d be wise to give this notion serious thought and concerted follow-through.

Beliefs associated with the qualities reflected in this movie are certainly honorable, and they can be put to valuable use when necessary. There’s truly much to be said for concepts like compassion, cooperation, mutual support and perseverance. Indeed, if we put our minds to them, we can employ them for the betterment of ourselves and others, not to mention the world at large, particularly for those in need. In fact, as this film illustrates, they can even provide a new model for our society (and goodness knows we can definitely use more of that these days). In that sense, then, this film provides an example worth emulating, a template for a better world for us all.

I find it intriguing that the generosity of spirit that emerges in this picture tends to come about at times when things are at their worst, something that, strangely enough, often seems to happen in the real world and not just in stories like this. Consequently, it makes me wonder why we tend to wait for catastrophes like this to bring out the best in us. If we can invest in beliefs supporting these considerations at times like that, why do we wait to invoke them? Why don’t we do more of that on an everyday, ongoing basis? Think of how much better off we all might be if we were to make a regular habit of such behavior and practices.

As “Rebuilding” illustrates, these principles can be put to use not just in addressing natural disasters, but also in helping people to make their personal lives better in areas like relationships, personal fulfillment and individual satisfaction. Helping ourselves and others in these areas can be facilitated by embracing and implementing the same fundamental qualities that we employ in aiding with relief efforts. We could all be so much better off for doing so.

In that sense, then, this film is quite a metaphor, not just for recovering from tragedy, but in all manner of circumstances. This is the basis of the concept known as value fulfillment, the notion of being our best, truest selves for the improvement of our existence. Think of the world we could create by adopting this approach to life. We might even reach a point where we’re not having to face the prospect of rebuilding but of perpetually upgrading our reality. That would certainly seem to be a better use of our time, effort and resources, an initiative based on our overall betterment rather than just trying to restore what might have been lost.

We all read about the trials and tribulations endured by the survivors of natural disasters, but rarely do we get to witness what it’s like to go through them on a daily basis. Moreover, it’s even rarer to see such happenings movingly portrayed on the big screen. Which is what helps to make this second feature outing from writer-director Max Walker-Silverman not only a fine piece of filmmaking, but also such an unexpectedly touching cinematic experience. These conditions might easily overwhelm most of us, especially when hope seems like a rare commodity. However, through this ordeal, the hopeful protagonist discovers an unexpected support network and the ample compassion of kindreds to help him get past his challenges and setbacks. This inspiring, heartwarming tale of people reaching out to help one another in a spirit of compassion and fellowship is the kind of moving, uplifting story we can all use more of these days.

While the narrative might arguably come across as somewhat formulaic (perhaps even a bit predictable), it nevertheless feels real throughout, never manipulative, phony or the least bit forced. Those qualities are bolstered by the fine performances of the capably assembled cast (especially LaTorre in a noteworthy supporting role), the picture’s gorgeous depictions of the Western landscape and the film’s stirring score. Regrettably, cynical viewers might find this release a little corny, simplistic or overly sentimental, but, considering how genuine this one feels (more so than I ever anticipated going in), that sense of authenticity shows just how badly we need a story like this in today’s trying times. “Rebuilding” has flown somewhat under the radar thus far, but it’s a film that deserves an audience, a picture that fills us with the kind of inspiration and goodwill that we as a species could use these days.

Despite the film’s low-key recognition thus far, it’s received well-deserved critical attention, most notably its designation as one of 2025’s Top 10 Independent Films from the National Board of Review. It also earned an Independent Spirit Award nomination for Kali Reis in the best supporting performance category. It would be gratifying to see additional accolades come its way. “Rebuilding” is available for streaming beginning on January 13.

Imagine having the ability to willfully choose making our lives more fulfilling and our existence a better place. Sounds enticing, right? But we should also bear in mind that’s not some lofty, unattainable theoretical abstraction. It’s something we already possess, a capability that stems from our innate wherewithal to envision and embrace beliefs that make such outcomes possible. And, if we already know how to tap into that aptitude when the going gets tough, what’s to stop us from doing so when unfettered by hardships, obstacles and impediments? Such are the virtues of qualities like compassion and cooperation, traits embodied here in individuals like Bess and Dusty’s FEMA camp neighbors. Maybe if we were all a little more like them we’d be better able to build than to rebuild. And what a world that would be.

A complete review is available by clicking here.

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