I want to fucking die

Malick, Altman, Cassavetes' woman under the influence Rowlands... Evoking these names discredits Trey Edward Shults and his star Krisha Fairchild. This is a singular piece of cinema, using the tools of cinema – camera movement, framing, sound design, performance – to not just show us one woman's attempt at redemption for her former sins against her family, but to experience it with her. Moment by fragile moment.

...Probably didn't articulate that as eloquently as I hoped to. Fortunately, will have more chances this year when discussing 2016 Golden Brick contenders.

whoops re: when you've legitimately lived this film.

Like Terrence Malick, Robert Altman, and David Lynch collaborated to remake Rachel Getting Married by committee (a perfectly plausible scenario), Trey Edward Shults’ Krisha collapses several generations of family trauma into a whirlwind Thanksgiving weekend that stretches the notion of 'unconditional love' to the breaking point. Shot in just nine days but obviously percolating for as many years, Shults’ SXSW-winning domestic drama – in which he co-stars with several members of his family, including his aunt in the title role – is a cataclysmic collision between the cinematic and the mundane.

READ THE FULL REVIEW ON LITTLE WHITE LIES

A lot of the dynamics were unclear to me for so much of the movie, but the final five minutes are stunning and tense.

See this is why I never attend family gatherings.

The fact that this is simply Trey Edward Shults and his family filming a movie for nine days is impressive enough. Krisha Fairchild gives a hell of a performance. She perfectly puts her anxiety into your head. Reuniting with her family on Thanksgiving dinner becomes this stressful and nail-biting feature that acts like a devastating trainwreck you can’t look away from. I’m also starting to notice that Shults’ trademarks are aspect ratios, and I’m here for it.

57/100

Valiant attempt to fashion a movie out of almost nothing, and Shults comes impressively close to pulling it off. Formally, Krisha takes its cue primarily from the percussive anxiety* of Punch-Drunk Love, placing us inside the title character's head via fragmentary glimpses of frantic activity, accompanied/driven by a jittery score. Combining that approach with a no-thanks exposition policy, plus Fairchild's intensely neurotic performance, yields arresting results, which means that quite a long time passes before the material's fundamental thinness becomes evident. Basically, this is yet another short (the original version ran 15 minutes) that's been bloated to feature length—it just does a superb job of disguising that fact for as long as humanly possible. Hopefully, its modest success will give Shults the opportunity to apply his nascent style to something with a tad more substance.

* Description shamelessly swiped from A.A. Dowd (replying to me on Twitter), because that phrase is unimprovable.

perfect?

a24 rank

make no mistake this is a horror film

Damn you, Trey Edward Shults.
This hit me like a ton of bricks.
I was not prepared. Holy shit. Brilliant.
For my own sanity, would never watch again.

This review may contain spoilers. I can handle the truth.

Worth watching. This director has a bright future.

watched as part of my series of older women in cinema
I liked this. I loved that the story didn't try to pass judgement on Krisha nor make excuses for her. I loved the cinematography and subtle anxiety-enducing music. I felt like I was in Krisha's state of mind and could feel what she felt.
And it goes without saying that I LOVE that this story's protagonist was a woman in her sixties

Liked the way it's shot, liked the performances - it had something intimate and genuine about it. Not too sure about the structure though...

I hate the elderly.

It's unreal that they did this with a real family.
Took a while to get going though. The last, like, 20 minutes were good. Maybe not entirely worth the entire experience...

Trey Edward Shults’s first feature film has everything that you would expect. He’s such a unique filmmaker and after reading more about him and his beginnings to filmmaking it’s remarkable he was able to craft this together with using many of his family members as part of the cast and his own family home as the location.

I want to be in your life, I want to be close to you.

Dibuka dengan kesan hangat 'Krisha' bukan tentang pertemuan keluarga biasa, bayang konflik masa lalu masih meresahkan. Sikap sang putra dan rasa terasingkan memicu kecemasan dan keteganggan dalam pikirannya sendiri, sehingga menimbulkan reaksi kehilangan kendali yang mengesampingkan prespektif awal seorang Krisha.

Meskipun menawarkan plot sederhana, pembangunan emosinya tersusun dengan baik. Para cast juga tampil natural, pengambilan gambar opening dan endingnya menarik.

A powerhouse film about the heartbreak of addiction and family betrayal. You don't even need to know all the family history or minute details to feel the immense sadness and volatility in the room of this family Thanksgiving, even in its lighter moments. With the tone of an experimental suspense thriller but the focus of a small family drama, you're constantly thinking that something more sinister is going on beneath the small-talks and reuniting relatives. Compelling and oddly terrifying.

i'm glad i watched this, but it was painful to work through.
i don't think i could have been much less prepared for this, as addiction isn't really a part of my family, and in all honestly, neither have I been a big part in my family.
this movie felt real, disturbing and horrifyingly sad.
good work, unsettling vibes.

bitch i’m,,,

"wow, this cast is really good. did they just start filming an actual fam- oh"

dramatic horror!