2024 has given us many impressive independent projects with distinct voices. Be it “Didi,” “Thelma,” or “A Real Pain,” they have proven to be more captivating than the buzzier titles. India Donaldson’s “Good One” is another glowing addition to this list that revolves around three characters: 17-year-old Sam (Lily Collias), her middle-aged father Chris (James Le Gros), and his close friend Matt (Danny McCarthy), who decide to go on a hike together. At the last moment, Matt’s son bails out on this plan, leaving Sam alone with the two men.
As they start traveling, we learn bits about their lives – their worldviews, behaviors, and preferences. Chris and Matt are products of an era where men were often conditioned to be unfeeling, insensitive, and stamina-flaunting. So, you are either a winner or a loser. There’s no in-between. In case you’re a mediocre man or not as strong in judgemental eyes, you would try to prove your dominance rather than accepting your flaws or failures. The same happens in the case of these two men.
Matt is recently divorced and doesn’t care much about being in shape. Chris often teases Matt about it even if no one asks for his opinion. He finds it reassuring that he is still in shape, well in his fifties, and is in a relationship with a younger woman. He treats Matt condescendingly. So, Mat feels anxious and even more like a failure while, in fact, Chris is only trying to assert his position out of his insecurities. Neither want to admit their flaws or their lack of emotional intelligence. Matt wants to reminisce on how his life could have been for him whereas Chris just wants to be perceived as strong. Both worry about their untapped potential.
Sam gets stuck between these two men, tending to their needs, and being their emotional support. Chris expects her to behave as per his wishes and cares nearly nothing about her feelings or opinions. Upon being confronted, he acts as if he is a victim. During their journey, gender stereotypes and inherent expectations and biases come into the picture. The men either tease Sam for her sexuality or refuse to talk about it by changing the topic. Procreation was a natural course in their lives that they could not refuse. So, they find it hard to comprehend someone leading a life beyond how they were told to, where they will not be desired for simply existing.
Despite that, “Good One” is largely a conflictless film that does not rely on intense dramatic tension to prove any point. It isn’t interested in proving anything concrete as much as in observing the fallibility of its characters through its naked lens. The film mainly consists of shots of its three characters walking around in nature and Sam carefully observing everything around her. Through her eyes, we see two grown men arguing, whether directly or indirectly, without worrying about anyone else’s emotions.
While the film offers a sense of space through its scenic explorations, it doesn’t stay confined to being a mood piece. The closest cinematic connection I can think of to India’s style is of Kelly Reichardt. It emphasizes the in-between moments where people are listening to others, reflecting on how it correlates to their lives even in those brief glimpses. However, there are no heated debates but confrontations in a few key dramatic moments, especially in its later part.
Donaldson understands the complexity of those situations and examines misogynist irreverence and ignorance by concentrating on Sam’s mental state rather than the male characters’ unjustified anger or entitlement. The critique feels relevant since their idiotically shallow approach to life still persists among many people, no matter what political affiliation.
As it all unfolds, Lily Collias’ mature performance shines the brightest. As said before, there are no intense dramatic moments in Sam’s arc that could have allowed her to prove her acting chops. Collias’ eyes provide us with the underlying subtext about her emotional journey and the script’s themes. While Sam is self-assured, caring, and wiser than men, she isn’t particularly outspoken. However, she expresses herself when required in a journey that transparently shows her the uglier sides of her traveling companions. Collias portrays an array of Sam’s personality through her subtly expressive performance.
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