Review of Ballast (2008) by Brian E — 23 Nov 2009

'Ballast' is one of the most hidden, sincere American independent gems of the decade - so hidden, I could not find a single copy of it during last week's long-anticipated DVD release through Kino.

It may have something to do with funding - not sure. This film, shot in exquisite 35mm non-steadicam, captures small-town, impoverished America at its most honest, organic advent; and just because its central characters are black, this isn't an outlandishly stereotypical study.

If this were a black film, then it'd be the Robert Bresson's take on a Tyler Perry feature - where you morally focus on poverty-faced struggle with the need for melodrama or musical score to intensify the events, and not to mention a cast of impressive nobodies.

In the Mississippi Delta, the suicide suicide of a man named Darius tragically effects three lives - Darius's son James, his wife Marlee, and his twin brother Lawrence, who, too, becomes a soulless suicidal being.

Prior to the death there were major family feuds, leading to a separation between Marlee and Darius, which further leads to a dispute and question as to who owns what part of Darius's lasting property, which consists of two run-down houses and a closed convenience store.

Meanwhile, James is caught up in threatening drug deals from some of the town's most shady hoodlums. Marlee's inner hatred for Lawrence is alleviated by when he offers her help with the convenience store, giving this family some financial hope, and most importantly, introducing some soul into Lawrence's tranquil presence.

Mind you - this film deals with impoverished struggle, yet this group of characters aren't exactly poor - they're just pushing to make ends barely meet. They may panic in the face of minimal debt, they may dash with food from a closed convenient store, and they may not have the most affordable belongings.

'Ballast' is also one of the few films that open with depressing mystery, but blossoms into something more hopeful - especially as each nonchalant, expressionless character begins to step into their own.

You realize that these are all decent, humanistic, yet flawed individuals who will help each other out when it comes down crashing. This late decade has been laced with radiant depictions of small-town, economically-depressed living - especially with such memorables as last year's 'Frozen River', 'Shotgun Stories', 'Wendy and Lucy', and this year's 'Adoration'.

These are films that are not to be condescended on, but are there for viewers to help appreciate life, and appreciate the beautiful minimalisms we take for granted. Vittorio de Sica and Robert Bresson would most genuinely be proud of this newer movement of independent story-telling.