Kelly Reichardt again goes off the grid in the Pacific Northwest, this time in early 19th century Oregon, in a delicate depiction of male friendship adapted from Jon Raymond's novel, 'The Half-Life.'
might almost be a companion piece. It shares the enveloping sense of place of those earlier works, as well as the perceptive eye for subtle character details that make Reichardt's world such a transporting place. The A24 release should further expand this distinctive director's devoted following.
Magaro plays Otis Figowitz, known as Cookie; he has signed on as cook for a party of fur-trappers whose roughneck nature and thinning provisions make the meek, soft-spoken outsider a target for abuse. We learn that Cookie lost his mother at birth and his father at a young age in Maryland and has been on the move ever since, at one time apprenticed to a baker in Boston.
The two men meet again by chance some time later in a bar at the rustic Royal West Pacific Trading Post . King-Lu invites Cookie to his shack in the woods to share a bottle of whiskey, and the spontaneous domesticity of the scene instantly suggests the thin line separating friendship from love. While King-Lu builds a fire, Cookie picks up a birch broom and sweeps the floor, shakes out a dusty rug and gathers some foliage to place in a jar.
Their first experiment selling a small batch of biscuits in the marketplace proves an instant success, with demand increasing every day as they return with more stocks. Shots of dough sizzling in a frypan and then being removed, golden brown, and drizzled with honey, convey the welcome delivery of a rare home comfort to a place where those are few.
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