Julia Garner holds the center of slow-drip MeToo drama The Assistant: Sundance review
From the minute she sets out for his Tribeca production office in the early-morning dark, Jane never really stops: She Xeroxes scripts, fetches water, books flights and car services, fields endless phone calls. .
It’s thankless work, more like a sort of executive maid, and unpaid; nobody is asking about her honors degree from Northwestern when she’s washing dishes in the breakroom. And when she does encounter her boss — through his closed office door, on the phone or over email — it’s mostly to be screamed at or reprimanded for some perceived failing: fielding a call from his furious wife, or daring to question the presence of a pretty new assistant left in her care.
Writer-director Green films scene after scene of these quotidian tasks, nearly in real time. The lighting is grim and industrial; the pace deliberately glacial. At times, it feels like watchingBut small moments accumulate: in the way Jane doggedly rolls her Sisyphean rocks up the hill, one by one; and the way everyone — passing executives, her fellow assistants, the beautiful young women who perch anxiously in the waiting room — hardly deign to register her existence.
With so little exposition, there’s not much chance for her protagonist to become a whole person in the audience’s eyes, but Garner (a
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