There’s no predicting which indie films will turn into hits, but there are a few small-time projects that have rocketed actors into stardom. Often the actors help push these projects themselves: “Monster” brought mainstream attention to producer/lead Charlize Theron, and Ben Affleck and Matt Damon wouldn’t be anywhere without their co-written turns in “Good Will Hunting.” Nowadays it can be hard to find true indie gems given the sheer glut of filmic content in the universe, but Christina Choe’s “Nancy,” which premiered at this year’s Sundance Film Festival, just might be spellbinding enough to cut through the noise – especially thanks to an absolutely jaw-dropping performance from producer/star Andrea Riseborough.
“Nancy” follows a downtrodden thirty-something woman in a small town who, after seeing a couple (Steve Buscemi and J. Smith-Cameron) in search of their long-lost daughter on the local news, sets out to join the family she’s always deserved. It’s a slow, contemplative story inspired by real-life imposters like Frédéric Bourdin, albeit with a decidedly human perspective. Despite its salacious premise, “Nancy” features one of the most finely-crafted anti-heroes in film – and not just because it’s depressingly refreshing to see well-written, nuanced women in movies. Christina Choe’s smart script and Andrea Riseborough’s incomparable acting chops combine to produce a near-impeccable drama.
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If you’re unacquainted with Andrea Riseborough, it’s time to wake up and smell the genius. The British actor recently stole scenes in “Battle of the Sexes” and “The Death of Stalin,” and struck fear in our hearts as the psychopathic protagonist of the “Black Mirror” episode “Alligator.” But if you can’t quite conjure her face, or aren’t quite sure where you’ve seen her before, that is paradoxically because she is one of the greatest actors of our generation. A true chameleon, Riseborough becomes her roles so thoroughly that it’s hard to imagine they’ve all been played by the same person. Her take on Margaret Thatcher is every bit as original and insightful as her interpretation of Tom Ford’s “Nocturnal Animals” socialite. It makes sense, then, that “Nancy” would offer up her ultimate role – a woman who’s a completely blank slate.
Nancy Freeman is at once unreadable and moving, manifesting a kind of vacancy that befits her neglectful upbringing. She’s so ambiguous and pitiful that, even when Choe makes her deceptions obvious, you’ll find yourself willfully ignoring the clues to root for her happy ending. Choe has smartly implanted both sides of the viewer’s perspective. Nancy’s maybe-parents, Leo and Ellen, respectively approach the situation with doubt and joyous acceptance. It’s almost as interesting to see Steve Buscemi play against type as Leo as it is to see Riseborough in her wheelhouse.
Dour visuals from cinematographer Zoe White (“The Handmaid’s Tale”) and Peter Raeburn’s (“Under the Skin”) sparse music bolster this mysterious portrait. Fat snowflakes give White an Oscar-worthy assist in one of the most climactic scenes. White plays with the aspect ratio to evoke feelings of suffocation and relief, and Raeburn’s score is deceptive in its foreboding cues. Much like Nancy herself, the film is a well-constructed, enchanting manipulation.
The biggest mark against “Nancy” is that it doesn’t go on for a little longer. The story ends in a bit of a rush, leaving the viewer fully unable to grapple with her many unanswered questions. Still, maybe that’s the point, as one is left as reeling in Nancy’s wake as the people she betrays. There are a few odd blips in the otherwise well-acted film, too: J. Smith Cameron occasionally feels out-of-tune as Ellen, perhaps in part because she’s taking on such an unwieldy, nuanced role.
Minor mistakes aside, “Nancy” is an assured and genius debut from first-time feature director Christina Choe. Much like its protagonist, the film is an enigmatic and wholly original take on a richly dramatic – yet underexplored – phenomenon. Andrea Riseborough has never been better than she is here, and it’s awe-inspiring to see her inhabit a role that’s so well-suited to her talents. Even if you still can’t remember her face after you leave the theater, you definitely won’t forget her name. [A-]