Ballast

This current - albeit very limited - wave of American neorealist cinema really appeals to me. The non-actors (all great), the intelligent switches between silence and raw, cacophonic outburts and the amazing cinematography (look for the sunsets, sunrises, misty rural areas and - especially - the silhouettes) all come together in an empathetic and depressing movie mastering the "show - don't tell"-technique. Obvious double bill together with David Gordon Green's "George Washington".

The Mississippi River delta location is shot beautifully. This, coupled with the depressing content, creates an intense atmosphere. Perhaps the camerawork is too jerky for the content, and the cuts too often, but the atmosphere and acting (despite the non-actors) shines.

Well, it has some really good, emotionally hefty moments but also some really flat ones. I'm not complaining about the simplistic plot. Sometimes, the quiet moments are the most emotionally stirring. It's all about making a connection between the characters and the viewers. Making us care. This film attempted to do just that but falls quite short.

"Lance Hammer's Ballast suggests and suffers from the influence of the Dardenne brothers." - Ed Gonzalez

Could've done without the gangsta bullies. Instead, I would've preferred more scenes at the beginning between the neighbor and the protagonist, Lawrence. The very first scene and the entire last hour is sort of perfect. Lawrence is a unique and intriguing character. Through sparse (but always naturalistic) lines, Hammer feeds us information on his backstory in an arthouse-realist style. With performances switching between the subdued and intense, this is a quietly compelling piece of cinema.

Definitely one of the more difficult movies to process that I've seen in a while. Incredibly dry and achingly realistic. It may also be one of the most brilliant works of the last ten years. Inspirational in ways that other films cannot even begin to relate to. Heart-wrenching in certain scenes the way no film has perhaps ever been. This film is independent to the bone and has no trouble letting that get in the way of looking absolutely gorgeous. It will take a while for me to process, though.

I am so encouraged to see American filmmaking like this: patient, meditative, affecting, thought-provoking, humanist. The list goes on. The closest analogy I have for this film is the work of Bresson, but even there the analogy works in some ways but not others. Hammer often makes wonderful and thoughtful use of edits and pans. The third act might move a tad quickly for what occurs, but the film has so many beautiful moments, that the slight narrative misstep is easily forgiven.

Maybe this was considered life-affirming back when the American neorealist movement was in full swing, but compared to most films from that period, time hasn't been particularly kind to Ballast. From the sparse dialogue, to the unexpectedly austere cinematography, all the ingredients to make me love this film were there, but its cast of non-professional actors is ultimately let down by a flimsy script that not only strains credibility but most importantly fails to engage on a visceral level.

Bit depressing, sometimes intense. There's not much dialogue but it works perfectly. Sometimes you wonder if the people are acting or not, really really good

21 Aralik 08, sinema-tarih bulumasi, gmall macka cinebonus, salon5, 2ytl , & gercekci bir anlatima sahip, etkileyici bir film. sonunda kursunlari suda gorunce yureginize oturuyor.

Ballast (another Frozen River, wallowing in the miseries of the underclass) is designed to provoke bourgeois moviegoers' pity.

Beautifully minimalist picture with an underlying "life and death" dialectic. Moribund Lawrence, a solitary man coping with the death of his brother, struggles with thoughts of suicide, while Marlee, a harried single mother, struggles to raise her mischievous son so that he may have a better future. As their arcs slowly bring them together in synthesis, Lawrence discovers something new to live for and Marlee is forced to explore dormant feelings for her late husband. Powerful stuff.