Artists talking about art and process can often leave the audience behind. The filmmaker has to find a universal in that subject to reach the people in front of the screen. Never Look Away was the most recent film to negotiate that mine field, while The Square (to my mind) totally missed the mark. The Time Being is somewhere between those extremes.
Frank Langella (Captain Fantastic) and Wes Bentley (Mission: Impossible: Fallout) are two poles of the conversation. One old, one young. One famous, one ignored. Each is struggling with making meaning out of where they are in life and, by doing so together, they each provide guideposts to the other. The situation and actions are a bit forced, but it moves along in ways that keep you from disconnecting from the story.
Director Nenad Cicin-Sain tackled his script, co-written with fellow first-timer Richard N. Gladstein, with care. While some of the dialogue is a bit navel-gazing, most of the story is told visually. Through wonderful framing and art that really looks like art, we see Langella’s and Bentley’s visions evolve. Much like dance in The White Crow, the art actually serves to keep you believing rather than make you doubt these actors are really artists. And, ultimately, Cicin-Sain delivers a denoument that reflects back through the story.
Two supporting roles are also worth calling out. Sarah Paulson (Glass) has a nice, understated path. And Cory Stoll (First Man) turns in an honest, dramatic performance with no hint of comedy at all. I don’t think I’ve ever seen him that serious even in an interview; it was nice to see he had those chops.
This isn’t a movie for everyone. Artists, particularly artists in their 30s and 70s, will find verisimilitude with their lives. Others may find it head-scratching or just simply boring. The editing and mystery kept me engaged, but not everyone will. For a first time director, however, it shows an ability for clever vision and respect for his audience.