Person to Person Screen 13 articles

Person to Person


Person to Person Poster
  • The uneven quality of Person to Person‘s stories and the inconsequential feel of much of what happens make the film feel a little like a stroll through the city. Stretches in which a lot is happening, none of it of particular interest, are broken up by some intriguing interactions and snippets of entertaining overhead conversation.

  • It has drama but isn’t worried about being dramatic, concealing rather than pressing upon you its plot mechanisms. I’m not sure aspiring to be minor is always a good thing, but it certainly beats the alternative. I kept waiting for the other shoe to drop, but it never did, which makes the film a self-consciously low-key pleasure to watch.

  • The film delivers more or less what I expected, but it didn’t deepen the profound, profoundly comic melancholy that existed in its shorter incarnation. That doesn’t mean the breezily distracting ensemble piece isn’t fun or worth a watch. It’s both. It just doesn’t add up to a whole lot and never much expects to.

  • It’s noteworthy that “Golden Exits” and “Beach Rats” were shot on 16mm. film, as was another very good Sundance film, Dustin Guy Defa’s “Person to Person,” a tenderly dramatic and gently loopy Brooklyn street poem... These films could as readily have been made with video cameras, but much that happens in a movie isn’t a matter of framing or cinematography but of mood and tone, a tone that’s set by the director and is inseparable from the matériel on hand for the production.

  • An utter delight. A film that probably shouldn't work. It's all over the place yet disciplined. It projects a sense of cool indifference about its characters and its plotlines until you realize that everything was worked through to the very end, and everyone depicted in the film was shaped with great affection.

  • Defa, a prolific director of short films making his first feature since 2011’s Bad Fever, has developed a feel for American eccentricity that brings to mind Jim Jarmusch and Richard Linklater in its best moments, albeit in a scruffier style... It’s a film of ephemeral pleasures, adorned in a rich variety of voices, non-verbal gestures, and speech patterns: unfussy, unrushed, at times very funny.

  • There’s a purifying pleasure to it: The writing and performances delight in making us see who these characters are, merely by letting us tag along as they think and talk, shoot the shit, analyze each other, make amends, and whatever else. It’s a movie that, despite being set in my own time, makes me miss an era I wasn’t around to see—one that I only feel like I know because of movies like this.

  • The editing is poignant and deliberate, breaking expectations and observing detailed gestures with patience and delicacy. There’s something very powerful about the exact moment Defa choose to cut from one scene to the next, sometimes right before a sequence climaxes, other times it’s a few seconds after. In almost every case, the cut is unexpected and re-interprets what came before. It’s a small film that manages to pack multitudes within itself.

  • Odd to say of a movie that dedicates a fair amount of its runtime to loafing around during the mid-afternoon and shooting the shit, but there’s a real sense of urgency about Person to Person, a plenitude that is very winning, and the film contains a couple of close-ups—of Sample, destitute and begging forgiveness, of Gevinson suddenly aflutter and overwhelmed during an awkward make-out—that access surprising depths of feeling.

  • Defa has assembled a staggering troupe: There are indie-canon luminaries (Michael Cera, Philip Baker Hall), fashionable television stars (Broad City's Abbi Jacobson), and a number of minor actors and nonprofessionals whose obscurity and inexpertise don't begin to suggest the prodigious volume of their talent.

  • A web of breezy vignettes that perfectly captures the experience of living in New York City circa 2017 by way of 1979... A delicate sense of humor helps maintain the film’s upbeat pace while scenes of intense emotion are mostly wordless... Defa’s swift editing enables Person to Person to skip effortlessly across its plotlines, each of which deals with the theme of connection.

  • For a film so set on understatement, both comedic and dramatic, Person to Person is surprisingly affecting. Tender moments, like when one character does laundry for a depressed friend, or when a remorseful man apologizes to his girlfriend, are all the more touching because they come in the midst of so much insouciance. The dialogue is meandering and overwrought, in a way that will annoy some but makes a zinger really sing.

  • Only Golden Exits has a better cast this year, but Person to Person might get the edge for me because of its halcyon warmth, its assured and fluid structural, the poetic depiction of quotidian life across the timeless sprawl of New York. I wanna luxuriate in that 16mm photography.

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