Conversations with other Women

by Ari

Conversations with Other Women is the most refreshing take on the intimate romantic drama in quite some time - a professional triumph for the filmmakers and actors involved. This is intelligent and adult storytelling in the same vein as Before Sunset, but with a stylistic choice that first seems questionable, but eventually develops into something sensible and dramatically effective. I don’t think I’ve ever seen a film that uses a split-screen effect for the entire running-time, nor did I ever expect a filmmaker to actually believe something so disorienting could actually work for a feature-length film. My initial reaction was obviously wondering when exactly the gimmick would end and the real, stylistically normal direction would begin. After a few minutes, I realized this seemingly odd choice would conclude once the story is finished. Interestingly enough, the style becomes completely engrossing, a perfect match for the characters and themes being so passionately and realistically expressed. Director Hans Canosa’s delicate craft is integral to the fractured and unexpected nature of the screenplay, resulting in that wonderful blend of ambition and depth. Romance is generally one of the most pleasing and affecting emotions cinema can provide, so it’s always rewarding when filmmakers attempt singular, intellectual stories such as this.

The entire film takes place over the course of one night, with necessary flashbacks and opposing perspectives adding greater insight into each of the two lead characters, a man (Aaron Eckhart) and woman (Helena Bonham Carter). Since Canosa uses split-screen for the entire film, a character in the present will refer to a past experience in one frame, and the experience itself will be presented simultaneously in the frame beside it. This constantly changing, unpredictable barrage of imagery acts as a surprisingly moving symbol for the connection and separation between these two characters.

The split-screen also allows the reality and imaginary to run side by side. The characters will be discussing a particular issue, and in one frame you have the actual conversation, while the other frame presents either his or her point of view on the subject. The effect is intentionally jarring, representing the frenzied and desperate emotions on display. Once you become accustomed to the overall movement of the story, the effect is rather fascinating. This film is easily the most impressively edited motion picture I’ve seen this year, matching each emotional beat, past and present, with astonishing rhythm. The same could be said about the visuals. Eternal Sunshine used a particularly inventive visual style to heighten its drama, and while this case isn’t quite as exaggerated or unique, it’s still reminiscent of that determination to view something differently. That determination is extremely admirable. When the two frames aren’t showing two completely different scenarios, they show the lead characters in conversation, usually one in each frame, sometimes both in each frame, covering each sequence like two different films. It’s an interesting and appropriate way to view the story.

The story itself is expertly structured. He seemingly meets her at a wedding, they begin chatting and sizing each other up with witty remarks and light flirtation, and a relationship grows. As their conversation progresses, writer Gabrielle Zevin reveals interesting detail after interesting detail. These are two well-realized and eloquent characters, far deeper and complex and real than one might expect. Their flirtation turns into complexity once it’s established that they’ve had a past. The initial greeting passes, and more important issues become topic. In Frank Perry’s 1968 masterpiece, The Swimmer, Burt Lancaster goes on an emotional journey piecing together situations in his memory that forever altered his life. Gabrielle Zevin uses the same idea in structuring this film. As the conversation and emotions escalate, you as a viewer get naturally absorbed by their connection. It’s not entirely clear just how close they’ve been until the last act of the story, and when the most surprising detail is revealed, it hits with a powerful emotion weight. The realism of the characters makes this movie. Nothing excessive or distracting breaks the immediacy of their romance. They experience realistic emotional arcs, and the magnificent performances convey the happiness, confusion, and pain they feel.

Eckhart is one of the most underrated actors working today. This is as right as material will get for him, and he gives one of the year’s great performances. Helena Bonham Carter has been consistently good for a while now, and she deserves attention and praise for her work. Both actors are intelligent and charming, but with an edge and wisdom that comes from experience. There’s a sex sequence about halfway through that cuts back and forth between the past and present in both frames, interweaving the innocence of youth with the passion of age. It’s a beautiful sequence, a heartfelt display of intimate and intense attraction. Both actors deliver incredibly nuanced performances. This is daring and challenging work, and Eckhart and Bonham Carter make it honest and believable.

Conversations with Other Women is Hans Canosa and Gabrielle Zevin’s second feature together. Here are two very exciting new filmmakers.