When Krisha stands in the kitchen, wild-eyed amid all these human sights and sounds, you see a woman overwhelmed by life itself, as well as a movie that is an expressionistic tour de force. Shults' mother (a therapist in real life) has a scene with Krisha in an upstairs bathroom that is so pained, so raw, that it puts other confrontation scenes in other films to shame. Most of the family is horrified and tries to help Krisha up from the floor and salvage the meal.
The tension, at times, was unbearable. It’s a revelation (at times more like an exhumation) that involves old and new wounds and reaches a frenzied climax with a culinary catastrophe.Mr. Krisha returns for Thanksgiving dinner after ten years away from her family, but past demons threaten to ruin the festivities. He is cold and defensive, refusing even to look at her; as she attempts to coax a reaction out of him, he resists and leaves.
"You are a Krisha Fairchild is Shults' aunt, who has done mostly voiceover work.
Few movies bore into a character’s head as deeply as “Krisha,” and with such uncompromising ferocity. Krisha seems to be moving at a different speed than the other characters. It wasn't just a turkey. It's deeply unnerving. "You are heartbreak incarnate," declares her caustic brother-in-law. She looks like the real thing. In the first part of the movie the soundtrack was excessively intrusive, but later on remarkable performance of the main character played by little known actress Krisha Fairchild made me forget about it. When Krisha arrives, she feels confident that she is prepared and on some small level is deserving of compassion.
Much of the movie, which runs a very fast, expertly jammed 82 minutes, involves opening Krisha, as it were. There can be something pitiless about Mr. Shults’s gaze, but the steadiness of his look is that of the artist who refuses to sell the truth out for sentimentalism. While some, like Robyn, believe Krisha has turned her life around, others, including her brother-in-law, Doyle, remain skeptical and deride her assurances that she is sober. We all know how addiction narratives usually play out (at least in the movies). I wanted her to go check on it. Later, after looking through Trey's room and finding a bottle of vodka, a distraught and increasingly unhinged Krisha interrupts dinner once again, demanding that Trey tell her he loves her. She tries hard. The movie is all about her face. The addict shows up, there are tense scenes, shouting matches, maybe a relapse, but in the end, there is hope after all. Shults’ approach provides room for the exploration of addiction as a mental illness, a battle that is never quite finishes. The film feels like a blazing catharsis for all involved. Krisha is a mess. The extraordinary peripatetic camerawork and fluid editing (the cinematographer is Drew Daniels; Mr. Shults is the editor) bring characters together, even when they’re not talking to one another, the rapid lateral pans mapping relationships with revelatory geometric precision. Watching "Krisha" is a revelation: there are expected "rules" for such material (a former addict returns home for a holiday), but then director/writer Sheila O'Malley received a BFA in Theatre from the University of Rhode Island and a Master's in Acting from the Actors Studio MFA Program. Cooking that turkey is a cliffhanger in and of itself.
Krisha Theatrical release poster Directed byTrey Edward Shults Produced by Justin R. Chan Chase Joliet Trey Edward Shults Wilson Smith Written byTrey Edward Shults Based onKrisha by Trey Edwards Shults Starring Krisha Fairchild Robyn Fairchild Bill Wise Music byBrian McOmber CinematographyDrew Daniels Edited byTrey Edward Shults Distributed byA24 Release date March 16, 2015 March 18, 2016 Running time 81 minutes CountryUnited States LanguageEnglish Budget$30,000 Box office$144,822 Krisha is a 20 When Robyn asks her to leave and Trey disowns her, the argument escalates and becomes violent, with Krisha breaking silverware and attacking Robyn as she is removed from the house. When Krisha shows up at her sister's Texas home on Thanksgiving morning, her close and extended family greet her with a mixture of warmth and wariness. Robyn refuses to allow her to join the table and takes her out of the room. As the day progresses and she sees her son's closeness to her sister's family, Krisha starts to secretly return to her bathroom to abuse alcohol, prescription drugs, and illegal drugs in an attempt to cope. The frantic score would be appropriate for a horror film, and in a lot of ways "Krisha" is a horror film (the first moment evokes pure psychological terror). But because the film begins on an ambiguous note, the audience is more willing to accept and sympathize with Krisha, until the truth is unveiled, at which point the audience is left to debate if blame can be placed on one single person.The dynamic of understanding both sides, capturing addiction from all angles, creates more of a reality than other films of its genre. In interviews, Shults and his family are quite open about the fact that the film is based on their shared experience with an addict relative. There are many aspects of Krisha's past which remain uncertain and unknown, but that is irrelevant.
Krisha willingly walks into a place of shame, where her family is ready and willing to discharge anger and blame for the hurt that was left in her wake.
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