Night Moves - A brooding and hypnotic drama

Set in the world of radical eco-activists, Kelly Reichardt’s latest offering teams up a terrific trio of Jesse Eisenberg, Dakota Fanning and Peter Sarsgaard in what proves to be another impressive addition to a constantly growing collection of strong films from the director.

Plotting to blow up a local dam as an act of political and ethical defiance in the face of growing ecological fears, Josh (Eisenberg), Dena (Fanning) and Harmon (Sarsgaard) are confronted with an unexpected hitch in the plan that brings into question the motivations behind their actions as well as threatening their own personal freedom.

The overall ambience of Night Moves matches that of Reichardt’s previous outing with the western-set potboiler Meek’s Cutoff - a similarly brooding and hypnotic drama. Split into two halves, the narrative first follows a tense build-up of events as the group carefully plan their act of eco-terrorism, and then switches its gaze onto the consequences of their actions; both within the group and the wider community.

Reichardt’s direction of the group’s act of terrorism is expertly wrought with tension thanks to its slow, drip-like pacing. Compare this to the tension in Paul Greengrass’s Captain Phillips where tension cascades at a frenetic pace scene by scene, the result is no less effective in Night Moves as Reichardt works at her own distinctive pace.

Christopher Blauvelt’s striking and ominous cinematography adds to the growing list of stunning cinematography on display at this year’s London Film Festival – see Barry Ackroyd’s work on Captain Phillips, Erik Wilson for The Double and André Turpin for Tom at the Farm

As a trio, the performances of Dakota Fanning, Peter Sarsgaard and Jesse Eisenberg fit very naturally together. Fanning’s cocksure ambitions paired with both Eisenberg and Sarsgaard’s calculated coldness makes for a believable group dynamic that will later be tested to its breaking point. Eisenberg in particular turns on the look of a man who couldn’t possibly look any guiltier if he tried – even giving Macbeth a run for his money.

Reichardt shows very little intimacy between the three, emphasising the cold nature of their task and that comradeship does not necessarily result in friendship or loyalty. What Night Moves may lack in terms of a resolute or satisfying conclusion, it more than makes up for in provoking questions about the ethics of extreme methods of protest.