DANDELION

(Check out Chris Reed’s Dandelion movie review, in theaters July 12 via IFC Films. Seen it? Join the conversation with HtN on our Letterboxd Page.)

Sometimes a love affair is not what it seems, but even flawed relationships can open up fresh possibilities. In Dandelion, the new film from writer/director Nicole Riegel (Holler), the titular lead character (KiKi Layne, If Beale Street Could Talk) runs from creative despondency into the arms of renewal, only to discover that life and love are more complicated than she thought. It’s a slow journey towards inspiration that ultimately transports her, and us, to a promising new space.

Dandelion (born Teresa) is a singer/songwriter in Cincinnati. In need of steady income to care for her sick (and not very supportive) mother, she plays gigs at a local hotel, where no one really listens; it’s dispiriting work. When she discovers her mom smoking in spite of her illness, she storms off, tired of helping someone who doesn’t reciprocate. Her destination? “Bike week,” aka the Sturgis Motorcycle Rally, in South Dakota, where bands and musicians perform for the attendees. It’s a pretty white affair (she is African American), Riegel allowing the racial visuals to serve as additional intimidation to her already apprehensive protagonist.

There, after a rough start where she is heckled on stage (“the ‘90s called; they want their music back!”), she meets Casey (Thomas Doherty, The Invitation), a gentle Scot who helps get her guitar back after someone steals it. He has a vibrant circle of diverse friends with whom he used to play, and everyone does their best to make Dandelion at home, inviting her to jam. Before long, she and he grow close, eventually initiating a romance.

Their bond is strong, even though Casey is, apparently, married. “We are not together, though,” he tells Dandelion. Which is good, because through their shared love of music, they bond and write new songs, all the while enjoying passionate sex. It’s just the kind of idyll Dandelion needs.

Layne fully invests herself into the role, her performance further enhanced by the intimacy of cinematographer Lauren Guiteras’ fine handheld camerawork. Doherty brings a gentle raffishness to his part, which blends well with Dandelion’s sometimes awkwardly shy behavior. Together they make a great team, bolstered by a strong ensemble of capable supporting players, who also deliver some fine tunes written by The National.

When the sweetness inevitably sours, Riegel refuses to mercilessly judge the one who flakes. There is beauty even in the worst of situations, allowing this particular flower to bloom. More than that, she rocks, bursting at the end with new energy and a commitment to make it on her own. Though the trip to that destination meanders in ways that might turn off those looking for a straighter plot line, the rewards are worth it. Dandelion blossoms via the unexpected, leaving nothing but poetry in its wake.

– Christopher Llewellyn Reed (@ChrisReedFilm)

IFC Films; Dandelion movie; Nicole Riegel

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