Chestnut
Chestnut
In chestnut for most college students, the ambiguity attributed to the post-graduation summer is the last threshold of familiarity, and the ushering in of more fears concerning the unknown. It is rather different from the transition into higher education that happened a couple of years ago – a transition that more often, if it is not all the time, found itself being ushered in with a lot of hype and ceremony, and a high school leaver as a kid embarking into an endless wonder as they walked down the aisle at their graduation clad in their caps and gowns. In contrast, college is like the point and time when having the training wheels on a bicycle is finally lifted off. Supports are no longer incorporated — no longer shared dorms, no arranged calendars, no possibility of moving most of the time with other students, only the illusion of choice remains, which risks turning into very frightening freedom.
In the character-driven narrative of “Chestnut”, which will mark Jac Cron’s full-length feature film making debut, she explores themes of coming-of-age- refusing to know and edited it through the memories of young departed sloppy drinking hot summer nights that, in her fragments, are, rather diffuse. After repeatedly filling in for “Frailty” for the previous generations, this time a grown-up Natalia Dyer of “Stranger Things” inhabits the image of Annie — an aspiring writer fresh out of college with absolutely no idea about the creative industry in front of her and sitting tight in her sleepy Philadelphia college town chomping at the bit for her new job offer in Los Angeles to begin. While there is a doting papa in Annie’s corner, Annie is wary of such a bold step. Of moving on, of moving practically and psychologically to a new city that happens to have sunny weather and a promise of burgeoning career in writing. Evehowever, zhen comes one of such summer nights filled with a measured haze of boredom and discontent and dreams drank too deep about young love. Out of Annie’s ex boyfriend, Tyler hers, romantic feelings are definitely out of the question and Danny does not help much getting rid of them.
Tyler (Rachel Keller in FX’s ‘Fargo’), is as puzzling and attractive as one is irritating to Anne I do not know how to say dumb it appears to Anne but no doubt she is able to aggravate pose. And then, it is perhaps, sure, to the more quiet of the two, Danny (Danny Ramirez from ‘Top Gun: Maverick’), is very much visible that he would rather just be patient and watch how and when Annie and Tyler would be engaging in any form of touchy and steamy interactions.
Almost errand employees at the bar, Tyler and Danny shared a flat with Annie, a detail that baffles Annie quite literally about everything else but how it is messy, complicated, and codependent. Annie feels an urge towards Tyler and almost immediately gets into her and Danny’s circle, which is spent on the couple every remaining summer night, from sweaty parties after-work drinks turned to, To not being wasted at a literary bar, but instead intimate poetry readings. Having been cut off from her fellow student Jason (Chella Man) for so long, and her father’s threats by telephone, what is it about Annie that appeals to Tyler, why does she want to be the tangible suggestive possibility to transform her life? A tachyon pocket safe for all of them, with a dense emphasis on emotion on the extension that she would be committing to something by the end of summer.
When the twilight gloom circles in, the exterior tomps of neon bars as well as its day afters “Chestnut” further opens the world of Annie in a detailed and dramatic manner daringly allowing the melting pot of feelings possessed by the characters dictate the narrative as well as the visual. The handling of the Chestnut film’s camera does not disturb at all as it follows the complexity of the triangle as well as the moving emotional cores of the characters who at times are passive.
The effect is that of clutching onto the characters while inclined to the panoramic top, letting cheeks droop under the weak cupping eyeglobe, boring with careless fantasy. It is a bold sexually charged love (triangle?) although fairly vague with respect to its borders and conceptualization. We all enjoyed late-night bar hopping, and that late-night bar hopping to our young, more emotionally fragile, and more self-conscious selves frequently resulted in emotional closure.
This is fueled not just by depression into the dungeons of Hybryda club, but under the collapse of borders which require the young and helpless self prone to glamour over drugged eyes to nurture furies against oneself and coerce silence with guilt.
The reason is that Annie is yearning after those chances which are surprisingly earned way too straightforward, and way too quicker. Trying to understand more of appropriate and deeper into the reader’s character, however, there are only more questions that are still suspended. Tyler turns out to be the easiest to tempt with her highly active temper and with such a playful character. At first sight, Danny tends to be more of the reassuring type because he has the capacity to articulate what is beyond the present tense. The task accomplishes the rare honor of being neither is to settle for Tyler or the Danny but each is going to make her want even more from them in their various own ways. ‘Chestnut’ in its running time, is slighty poetic portrait of young life at the edge of something, not only promising but also rather frightening, something new. Most of the function of the narrative done in this part is modest – gesture, look, sigh, much of it is busy creating an interface of emotion, all briefly governed by late outburst of distress, rage and grief.
It is a Chestnut movie that can be said is somewhat conventional for all the reasons it can be attributed to due to its perspective on the coming of age film neither being particularly stereotypical nor substantive, Although it is unusual in that it produces no less than one’s internal worlds; it embraces one’s self within, giving a close reflection of young adult’s anxieties with the everyday.
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- Genre: Drama
- Country: united states
- Director: Jac Cron
- Cast: Natalia Dyer, Rachel Keller, Danny Ramirez
