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The first feature by Nicole Riegel “Holler” is an intimate film about family and work, full of subtleties that only a storyteller who lives them can portray.
But “Holler” is more than a new-age story if you stand and look at everything that happens. At the beginning of the 21st century, this is a shrill portrait of the United States. It is a country that loses its sense of duty 50 years ago, not only dismantling its safety nets but selling off the remnants of medium-sized existence, similar to the metal scrappers in the heart of the film who scrap the city for retainable material since it’s hard to earn a living.
The plot is simple: here is a city where some of them dwell, and these are only some of the things they do. The story is simple. Many of the “Holler” is not transmitted through expositions but rather by caught-on-camera observations, except some crucial but first clumsy bites. Also, we see people working, playing, communicating with friends and colleagues, and moving from A to B, which is what we need to look at. As captured by Riegel, the filmmaker Dustin Lane, and Kate Hickey, the editorial artist “Holler” feels like an unseen film crews documentary that lives in their homes and workplaces with their characters. Also, you must try to play this Holler quiz.
Holler quiz
Ruth doesn’t recognize it, she comes at a junction with an expulsion notice. She can live in Jackson — the dead-end of Riegel’s hometown in Ohio — and do strange professions such as her older brother Blaze’s (Gus Halper). Or, as Riegel did, she may do the frightful thing and leave, which is almost always the solution in films like that.
The dream of higher education appears impossible to many, and she does not pretend that the solution is easy. Riegel admits this is impossible. There are elements of “The Deer Hunter” in this case — albeit in the last decades it has hardly improved — as the director has paid a sort of elegiac tribute to a class of Americans working harder than the others, but only comprehend a fraction of the benefits of the media. A Roller Rink scene (a relic from past times himself) captures a rare moment of rest and happiness but even so, it seems awesome as Riegel uses the brutal documentary style of Barbara Loden’s “Wanda” aesthetics and offers the images by employing hand-held 16mm cameras to add to the closeness.
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Only by pillaging what remains from the glory days of the neighborhood. And stealing waste of metal from abandoned buildings. And sometimes from those not yet abandoned. Also, selling it to the dump yard is she and Blaze able to make money. This is not just harmful, but unlawful and Ruth may be locked together with her mother. It doesn’t have many more possibilities.
One highlight of a summary for a review is that when one realizes that the plot is so much more than its summary in one paragraph and that is definitely the case with the film by Riegel. One thing is to set a character goal and bring that person from A to Z. But Ruth’s main objective isn’t that straightforward.
Ruth knows that she is bright and that’s what Barden is best for. Ruth’s façade is tough and confidential often, but Barden doesn’t allow you to forget she’s an impressive youth, too. She loves Blaze on the one hand and does not want him to give everything away so she can go to university. But Ruth knows also that if she stays there, things would not improve for her. Does she leave a better life with her family? Is it treachery? It is a contradiction that requires a deep internal performance and Barden gives a great performance in that department.
Holler’s greatest quality is that Riegel doesn’t only follow this approach with her protagonist; he applies to all the major supporters, one of the powers of his bunch is Becky Ann Baker’s Linda. The same sensitivity and understanding of the numerous complications. With which an individual could be confronted.
For more personality quizzes check this: Promising Young Woman Quiz.
