Posted on Thursday, October 15th, 2020 by Kalyn Corrigan
Don’t be alarmed if you find yourself wondering halfway through Lawrence Michael Levine’s Black Bear just what the hell is going on. Levine intends for his characters to be off-kilter. At least, at first. Influenced by filmmakers like Hong Sang-soo, Levine’s sophomore feature is less about following a straight narrative and more about the longtime screenwriter giving himself permission to explore the unconventional. To bask in the beautiful loneliness that inevitably comes with the curse of being a creative. A girl in a bright red bathing suit on a washed out dock alone at sea. Wood paneled walls conflating claustrophobia with feminine wiles. A young vixen slow dancing in the corner, swaying alone, playing at romance. A ravenous bear stirring up trauma wherever he goes. These images are captured by a shy, distant camera that grows more fervent as the movie rolls on, like a wallflower blooming to life and getting swept up in the storm.