Film Review: CLEMENTINE: A Small Step for Story, A Large Step for Representation [Tribeca 2019]

Clementine Review

Clementine (2019) Film Review from the 18th Annual Tribeca Film Festival, a movie directed by Lara Gallagher, starring Otmara Marrero, Sydney Sweeney, Will Brittain, Sonya Walger, Alissa Jessup, Lilian McNeil, Chase Offerle, and Samuel Summer.

It’s often said about great things that the sum of their parts is greater than their whole. Sadly, Clementine seems to exemplify the opposite. Each portion of the film- its complex characters, its visual imagery and cinematography, its superb acting- is of outstanding quality. But, for me, the movie ultimately fell short in its broader explorations of growth and love.

The film begins with a brief snapshot of the relationship between Karen (Otmara Marrero) and D. (Sonya Walger). Karen is portrayed as young and innocent, a girl scout who has never broken a heart. D. seems to be in disbelief that Karen could be so pure; we get the idea that perhaps she’s too old to believe that things can work out anymore. Sure enough, although we don’t know why, this relationship doesn’t work out in the end. In terms of the movie, in fact, the relationship only lasts one scene and we don’t even see D.’s face.

Next thing we know, Karen is on a mission, driving to D.’s house and seemingly hoping to take the barking dog inside with her. The movie fails here to establish Karen’s motivations. Is she trying to get her ex back? Get revenge by breaking into her house or stealing her dog? Much later in the movie we learn that Karen just wanted the dog, but this isn’t the most logical assumption and the film’s leaving it out makes Karen’s motivations and desires as a character unclear. Indeed, when Karen leaves the locked house and drives to a lake house, smashing a window and breaking in, her motivations are even less clear. The film never really answers the question of why Karen decides to briefly live in what we can assume is D.’s house. A film doesn’t have to divulge every detail, but since the movie largely revolves around Karen’s stay at the lake house, it feels like a mistake not to explain what she’s really doing there.

Just as inexplicable is the appearance of Lana, a teenage girl who appears on the property and asks for Karen’s help searching for her (Lana’s) dog. Lana immediately starts to flirt with Karen; in this regard, the film’s pacing and music do a great job establishing the tension between these two characters, in the beginning and throughout their relationship as it progresses.

Essentially, the film asks the viewer not to question its building of circumstances to the point of Karen and Lana meeting. Their relationship is most of the focus of the movie and I won’t say more so as not to give anything away. I’ll simply say that I found the two characters to each be very intriguing and their interactions and dialog felt authentic, for the most part. This relationship is the film’s strength.

I would be remiss if I didn’t recognize the contributions that Clementine makes in terms of representing marginalized groups. Karen, the main character, is played by a brown girl, Otmara Marrero. In an time when filmmakers are increasingly implored to cast people of color, this is a powerful statement. Of course, simply putting her on screen isn’t everything, and certainly more could have been done, perhaps by giving her a name more authentic to her culture.

Importantly, too, the film showcases lesbian relationships without making a big deal out of them. It treats them like any relationship, full of wonder and discovery in the beginning and heartbreak at the end. There are brief moments of homophobia from other characters but fighting against these isn’t the focus; the focus is on the people and their relationships, regardless of gender. If nothing else, that was a win for Clementine. 

Rating: 6/10