Chestnut, 2024.
Written and Directed by Jac Cron.
Starring Natalia Dyer, Rachel Keller, Danny Ramirez, Chella Man, Caleb Eberhardt, Haniq Best, Eric Francis Melaragni, Nathaniel Wood, John Jezior, Jeff Mark, Lauren LaVera, and Penny O’Brien.
SYNOPSIS:
A recent graduate becomes entangled in a relationship with a man and a woman during her summer after college.
A simple but authentically messy look at crossroads post-graduate young adult life, writer/director Jac Cron’s Chestnut follows Annie (Natalia Dyer), still grieving her mom and unsure if she wants to move from the East Coast to the West Coast for a financing job which would not only increase the distance between her and her father but also symbolize defeat in giving up on a career writing poetry (a passion she doesn’t openly show even to a close friend.)
One night at a bar, Annie meets Tyler (Rachel Keller), who might or might not be in a relationship with Danny (Danny Ramirez), while increasingly expressing interest in her and welcoming her with open arms into the friend group (which is an inclusive bunch, making room for varied topics and observations among them.) Tyler keeps her feelings and emotions guarded and unclear, so it’s not long before Annie finds herself in a similar position, falling for her but unsure of what this puzzle-box woman wants. Nevertheless, it’s also enough to throw Annie’s plans up in the air, as she starts sending emails inquiring if she can postpone the start of her new position in Los Angeles.
Tyler and Danny are also vastly different, meaning that Annie feels free to experiment and show each of them an underexplored side of herself. With Tyler, it’s more about romantic infatuation and lust, whereas with Danny, it’s a deeper connection involving her artistic passions. The drama comes from the unspoken love triangle where someone doesn’t know what they want or is too nervous to express their feelings.
In the case of one of them, their actions are a bit more manipulative and selfish without understanding the mental harm it could cause, but since the writing comes across as so grounded with naturalistic performances when the time comes, it feels less like the film is letting the character’s behavior off the hook and more of an honest exploration of questionable behavior and disoriented YA life while navigating complicated emotions and a tricky stage of life. Still, one is left wishing the script was more successful at getting into the heads of all three of these characters rather than sticking the focus on Annie, even if she is the protagonist.
Chestnut also dabbles in the usual clichés, presenting Tyler as a possible bad influence and bringing Annie into some shadier scenes, including one involving drugs. Again, working in the film’s favor are nuanced performances that allow these characters to feel like real people, with Natalia Dyer (who regularly excels at playing characters in fluctuation and self-discovery), in particular, impressively conveying the conflicted and confused nature of the character regarding wants and uncertainties.
There isn’t anything noteworthy about the craftsmanship, but with Chestnut, Jac Cron has put together a slice-of-life tale of personal growth and life-altering transitions (geographical relocations, working experience, new friend groups, the final steps of putting oneself behind oneself) that does ring true, even if the surrounding characters lack the same depth. It most succeeds as another winning showcase for Natalia Dyer.
Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★
Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com
