TIFF Review: Nicole Riegel’s “Holler”
BY SCOTTIE KNOLLIN
“Holler” marks the feature directorial debut of Nicole Riegel. Based on her own short film of the same name, the film opens the curtain on the gritty and cold world of a small Ohio manufacturing town and how a slowing economy toughens even the brightest of residents.
English actress Jessica Barden stars as Ruth, a high school girl who should be the typical straight-laced student headed to college and out of her hometown but a jailed mother and a lack of economic means present a much different life. Ruth is a breakout role for Barden, who has been working steadily as a young actress for years. Many film and television fans may recognize her from her stints on “The End of the F***ing World” or 2015’s “Far from the Madding Crowd.” She also appeared in three episodes of the critically-acclaimed series “Better Things” with her “Holler” costar, Pamela Adlon. Adlon plays Rhonda, Ruth’s bitter and imprisoned mother. When we meet Rhonda, she is quick-witted but clearly broken by the system. She attempts to mother her daughter and son, Blaze (Gus Halper), but it’s obvious that the two kids have learned to parent themselves. Later in the film, Blaze tells how he had to drop out of school to take care of the family; something he hopes Ruth appreciates and uses to get herself out of town and into a new life. Despite eviction notices left on their doorway and a constant barrage of reminders of their downfalls, the two kids muster through it all collecting scrap metal and doing odd end jobs for neighbors.
The blue haze that seems to filter the entire film serves in reminding us just how cold the literal atmosphere is in pre-winter southern Ohio, but also how frigid and hopeless the cycles of life in that type of seen-better-days town can be. There is promise, though. We quickly see just how elevated Ruth is in how she’s constantly searching for something new: new knowledge (she attempts to steal books from a library), new experiences (she jumps right into a job sorting the scrap metal she’d been collecting to save money), and a new future (despite her brother applying to college on her behalf, and her being accepted, she relishes in self-doubt since she didn’t gain the acceptance on her own). Independence seems to be a recurring theme Riegel explores in the film, both as a driving force for positive change and a hindrance to fully grasping a life outside of the bitter small town.
Much of the conversation around the film will be focused on Barden, understandably. There’s something natural in her approach that may remind some of Thomasin McKenzie, who bounded onto the scene with “Leave No Trace.” But, Barden also holds a gravitas that could land her movie-star level roles. It’s the same thing many saw in Jennifer Lawrence after her Oscar-nominated performance in “Winter’s Bone.” We all know how that ended up. In “Holler,” there’s a specific moment where the camera settles on Ruth’s face as she rides in the bed of a pickup truck after a night with her new coworkers on the prowl for metal to sell. With the shadows of the night covering most of her face and the glow of streetlights flashing by every few seconds, we capturing a piece of magic. Barden ever-so-subtly smiles. The steady balance between how proud she is in the moment, feeling the rush of excitement from living life on the edge, and the stark reality of that very life gives pause to whether she should be celebrating or searching for more.
“Holler” isn’t necessarily groundbreaking. We’ve seen this film before, like the aforementioned “Leave No Trace” and “Winter’s Bone.” However, “Holler” does succeed in providing an intimate twist that doesn’t heftily rely on tropes like fetishing poverty or unearned melodrama. Its focus on education and a new way of life in light of economic turmoil (Riegel hints at relevant themes like the president’s promise of more American jobs, despite a town that doesn’t reflect that but still, somehow full of his supporters), allows “Holler” to operate with tangible feelings that are relatable.
As a filmmaker, it’s not hard to imagine much of the angst that exists in Ruth one day existed in Riegel’s own life. Filmed in her own hometown, it’s as if Riegel is using Ruth’s story as a parable for why it’s necessary to spread one’s wings and fight to break the bubble of a life in the very cycle that holds many back. She has a certain control of the film that typically comes with many more projects and much loftier experience. One aspect that becomes increasingly more noticeable the longer the film continues is Riegel’s use of the contrasting color red. The way it stands out serves as a reminder that Ruth has more to offer the cards she’s been dealt. Though her circumstances and surroundings may try to drown her most promising qualities, they are so innate that she can’t shake them.
In all of its dirtiness, “Holler” still manages to inspire hope. It’s an easy watch that will challenge viewers with its nuances and sincere performances, but isn’t built to proselytize. It isn’t lacking in a message, but instead spends its time begging viewers to empathize and understand.
