JANET PLANET – Review

Julianne Nicholson and Zoe Ziegler, in JANET PLANET. Courtesy of A24

In JANET PLANET, Julianne Nicholson plays Janet, the warming, single mother “sun” around which her daughter, 11-year-old Lacy (Zoe Ziegler) orbits like a planet. Adults are also drawn in by Janet, and circle around her, hoping to become permanent additions to her solar system. This well-acted, sly but slowly-paced dramedy benefits from a talented cast, and both strongly evokes the feeling of summer and a particular point in childhood when the parent is still the center of all but with change looming on the horizon.

Set in 1991 in western Massachusetts, there is much to admire in JANET PLANET, including its fine cast and excellent performances from Julianne Nicholson and Zoe Ziegler. There is beautiful photography, shot on 16mm film, showcasing green forest lanes and rolling hills, and naturalistic sound design captures to sounds of nighttime crickets, both of which effectively evoke the feel of summer and a sense of place in rural western Massachusetts, where the writer/director, playwright Annie Baker, grew up. The story is set in 1991, at a pivotal moment in the life of a child, when that child starts to see the parent who has been the center of their world in a new light that reveals their human flaws. There are plenty of parallels with the writer/director’s life and one can only guess how much of this is autobiographical.

All that is wonderful but what undermines this indie film is its languid pace, filled with long pauses and lingering over small moments. This is playwright Annie Baker’s first film. On stage, she is noted for her long pauses and silences in her plays, but what works well on stage, with live actors and a live audience, does not always work as well on film.

The acting is truly excellent with young Zoe Ziegler fascinating on screen. Julianne Nicholson is also splendid, playing her role with quiet restraint but exuding a hypnotic appeal with her freckled, fresh-faced beauty. JANET PLANET takes us through this long, dreamy summer as Lacy basks in her mother’s sunshine while a series of adults are also drawn into her obit. The film introduces each of these satellites with title cards and marks the exit of each with text like “exit Wayne.” Wayne is the first of these, an unlikely lover, played well by Will Patton, a dumpy depressive who is prone to frequent migraines and a tendency for stripping off his clothes no matter who is around. Wayne has a daughter who does not live with him, and one day, he, Janet and Lacy spend a day with her, including a trip to a mall, with all its 1990s pre-teen magic. Lacy quickly bonds with the sunny girl, who is just her age, but Wayne’s exit puts an end to that.

Next up is Regina, a woman that Janet had known years before and meets again at an outdoor theatrical performance at a hippie commune, which Janet is careful not to call a cult although it seems to be. The delightful Sophie Okonedo plays Regina, and at first when she flees the commune and her controlling lover, she seems a welcome addition to Janet and Lacy’s world. Until she wears out her welcome. Next is a briefer interlude with Regina’s ex, Avi (Elias Koteas) the leader of the cult-like commune, whose charisma draws Janet to him – until she quickly loses interest.

The whole time we see a mother and daughter who are uncommonly close. Lacy is an odd and dramatic child, whose call home from the camp comes with a threat to kill herself, which her mother reactes to as if she’s heard this before. Lacy is happy hanging arond with her mother and playing with her little model theater complete with home-made clay figurines. Her mother Janet is tolerate and loving but also has a tendency to overshare with her daughter, things that are beyond her at this age. In a final scene, where Janet has brought along Lacy to a community contra dance, we start to see the cracks between them and Lacy pondering joining the adult world.

There is much to admire and plenty of depth in this thoughtful and thought-provoking dramedy, but it is for a patient audience who can relax and drift along with its lazy float down the stream of life.

JANET PLANET opens Friday, June 28, in theaters.

RATING: 3 out of 4 stars

SHAYDA – Review

Zar Amir Ebrahimi as Shayda and and Selina Zahednia as Mona in SHAYDA Photo credit: Jane Zhang. Courtesy of Sony Pictures Classics.

Shayda (Zar Amir Ebrahimi) flees her abusive husband in Iran, along with her six-year-old daughter Mona (Selina Zahednia), and goes into hiding at an international women’s shelter in Australia, in the moving, semi-autobiographical Australian drama SHAYDA.

Set in the 1990s, SHAYDA is partly based on writer/director Noora Niasari’s own childhood experiences, when her mother fled Iran. Zar Amir Ebrahimi gives a charismatic, emotionally moving performance as Shayda, in a touching, emotionally-powerful drama that follows the mother’s and daughter’s journey. Young Selina Zahednia is a charmer as cute, mischievous Mona, effectively portraying her growth in understanding and maturity as they stay in the shelter. The drama premiered at Sundance in 2023, where it won the Audience Award in the World Cinema Dramatic competition, and it was Australia’s official entry for the Oscars.

We first meet the mother and daughter in the airport, where someone from the international women’s shelter is coaching little Mona on what to do if someone tries to lure her on to a plane to return to Iran. It is a chilling introduction to the precarious situation that Mona and her mother Shayda are now in, as Shayda escapes her husband who beat her and has become increasingly oppressive and brutal.

Shayda chose to flee to Australia because she and her husband had attended college there, until the Iranian government pulled her scholarship. Kindly social worker Joyce (Leah Purcell) runs the international women’s shelter where the mother and daughter go to hide, along with other women, mostly from an array of other nations. Secrecy is essential, as the men the women have fled have been known to either try to kidnap their children or attack the women. The secrecy extends to anyone the women may know, as they never know who may give away the location, intentionally or not, which would endanger all the women.

While in hiding in Australia, Shayda starts the process to get a divorce from her husband Hossein (Osamah Sami), which is no simple thing. Meanwhile, she tries to help her young daughter, who is struggling to adjust to life in the shelter. Homesick young Mona doesn’t understand why they can’t just go home, although the six-year-old does have some understanding that daddy hurt mommy. Mona longs to return to her own house in Iran, her own room and a yard to play in, instead of the cramped shelter where she shares a single room with her mother. Shayda tries to cheer her up, encouraging the little girl’s imaginative drawings, or entertaining her by singing or dancing with her to an exercise program on TV.

While Joyce, the woman who runs the shelter, is kind, not all the other women there are friendly, and Shayda does encounter some racism. The situation becomes more tense when Shayda’s husband Hossein follows them to Australia, and even gets the Australian authorities to grant him some visitation rights with his daughter, which forces Shayda to come up with a way to comply while keeping their location secret.

As the Persian New Year approaches, Shayda hears about a celebration planned by other Iranians nearby, and Mona begs to go. Shayda has to weigh the risk against homesick Mona’s emotional well-being.

Writer/director Noora Niasari does a fine job depicting the tight-rope that Shayda must walk to both care for her daughter and keep them both safe from her estranged abusive husband.

Zar Amir Ebrahimi is impressive as Shayda, and really carries the film on the strength of her appealing, nuanced performance. Osamah Sami does a nice job as husband Hossein, turning on the charm with his estranged wife and promising to change, but also pumping his daughter for information while trying to spoil her to win her affection. Young Selina Zahednia effectively portrays a girl who feels conflicted and caught between her parents.

The film is shot with a pared-down realism appropriate for the drama story. Flashes of color and energy come from little Mona’s artwork, and in the festivities and preparations around the Persian New Year, a celebration of renewal and new beginnings that mirrors the changing lives of mother and daughter.

SHAYDA is a touching drama about a mother and daughter journeying to freedom and a new life in a new land, anchored by an appealing, layered performance by Zar Amir Ebrahimi as the lead character.

SHAYDA, in English and Persian with English subtitles, opens Friday, Mar. 22, in theaters.

RATING: 3 out of 4 stars