hroughout the 27th Annual Whitaker St. Louis International Film Festival (SLIFF), the writers at the Lens will be spotlighting their favorite narrative and documentary films on this year's festival schedule. Each day, our critics will discuss can't-miss festival highlights, foreign gems that have already made an international splash, and smaller cinematic teasures that might have overwise been overlooked – just in time for you to snap up tickets.
[Note: Critic Joshua Ray previously reviewed Support the Girls here.]
Andrew Bujalski’s cinema is not one of grandiosity and bombast. He’s the forefather of the “mumblecore” movement — a current of early-to-mid-aughts indie films filled with low-key performances and concerned with low-key life. In the years, since Bujalski has moved outward into more experimental territory, making 2012’s Computer Chess, an Altman-esque sprawl shot on low-grade consumer home video. That was a supreme step forward, but now, Support the Girls is his crowning achievement. On its gleeful surface, it retains the low-stakes sitcom setup of the movement Buljaski helped to create. Roiling below that, though, the film contains deep reserves of humanity: moments of spiritual grace under pressure, moral and ethical consideration, and the purest expressions of understanding and platonic love.
“Let’s go straight to number two,” suggests Maci (the apparently chameleonic Haley Lu Richardson), the superstar server with a permanent smile and a shining personality to match, skipping past the first work rule of “No Drama!” By the time Lisa and Maci welcome a group interview of potential new hires to their Texas bar and grill, the former has had a complete emotional meltdown in her car before discovering that a burglar is currently stuck in the restaurant’s air vents. Remarkably, there are far more taxing tests of faith to follow. Set almost entirely during a single day — save for a gorgeously wrought coda — Support the Girls works on a small scale to present a snapshot of the lives of these women.
The film is also an impressively concise portrait of the United States during these turbulent times, as well as a celebration of the empathy and decisiveness required to navigate such an era. Bulijaski doesn’t shy away from exploring gender and sexual politics in America, but his feature is never pedantic or polemical about these topics. “Do they grab you?” asks one of the potential new hires early in the film, and although Support the Girls doesn’t have an answer to the problem of imposed masculine power, it deftly explores the intricacies of that power. The women of Double Whammies are obliged to wade through complex waters: subject to the leering eyes and groping hands of men, while working out how to use such invasions to their benefit.
The film is also slyly ripe with overtones about race. Lisa, Danyelle, and Nika (Nicole Onyeje) are the only people of color working the front of the house. Danyelle makes a point that Lisa isn’t allowed to schedule her and Nika during the same shifts because the white conservative owner, played with smarmy machismo by James LeGros, forbids it. The kitchen, however, is largely staffed by people of color. When Lisa identifies the cousin of her fry cook, Arturo, as the vent-trapped burglar, she asks him to resign, but acknowledges the day-to-day strife they endure by refusing to get the police involved. “I do my best to be generous,” she says, to which he replies, “You’re always generous.” She still asks him to finish his shift, however, given that she’s short-handed.
Moments like these uphold early reactions to the film as a kind of continuation of the late Jonathan Demme's output, a filmmaker whose features reverberate with the joy and pain of being human. It also recalls the work of the Dardennes — Bujalski’s film can be thought of as Two Days, One Night (2014) by way of the best of the American The Office (2005-13) — in exploring complex notions of work, morality, and ethics, all while being simultaneously gut-busting and tear-inducing. The film eventually and inevitably devolves — nay, evolves — into Hawksian screwball comedy when the workers of Double Whammies stage a coup during the restaurant’s proverbial Big Night, here corresponding to a pay-per-view boxing match. It’s an exhilarating act of self-reclamation that, on the outside, may seem like the smallest of rebellions. However, for these women who center their lives on their work, well-being, and makeshift family, it’s a daring and necessary act.
The cast is roundly magical, and at the center of the film are three spectacularly alive performances: Regina Hall, Haley Lu Richardson, and Shayna McHayle (also known by her rapper stage name Junglepussy). Richardson is effervescent, radiating an energy completely opposite to her tremendous, more downplayed turn at the heart of kogonada’s Columbus (2017). McHayle’s strutting, gives-no-fucks attitude lends the film some of its finest moments of feminine clapbacks. And as everyone’s mother, best friend, boss, and mentor, Hall bests her Girls Trip (2017) performance, showcasing the role’s heartbreak and humor while doubling down on both Lisa’s optimism and resignation. Her turn is an easy contender for the most magnetic of the year, and just one of the myriad reasons Support the Girls is one of the year’s best films.
Support the Girls screens Thursday, Nov. 8 at 7:15 p.m. at the Tivoli Theatre.