India Donaldson’s Good One delivers such a power punch at a pivotal, earth-shattering moment that it proves to be a masterclass in low-key filmmaking made for impact for the debut feature writer-director.
Its impressive cinéma vérité style requires an investment in the subtle actions and reactions of the lead characters, rather than the dialogue which feels almost improvised up to the point of disruption that any viewer could be forgiven for blinking and missing the delivery of the key line. The outdoor setting is as deceitfully tranquil and stunning as it is menacing, as characters interact with nature and each other.
It is 17-year-old Sam’s story, played by gifted lead newcomer Lily Collias (Palm Trees and Power Lines), as she joins her father Chris (James Le Gros) and his friend Matt (Danny McCarthy) on a camping trip in in the Catskills, a mountainous range in southeastern New York State.
It is clear from the start that Chris is an experienced outdoor adventurer, with survival skills passed down to his daughter who seems to be on the trip to fulfil a father-daughter time quota: She is ambivalent about coming along for the ride but is there to add her support. This support is later shattered after Sam pities newly divorced actor Matt because of his treatment by her father, and the idyllic setting comes crashing down as a result.
The wait is worth it, as Donaldson takes her time to render us ‘comfortable’ in the odd camping trio’s presence, even after catty remarks are delivered by Chris. These feel adequate given self-pitying urbanite Matt’s complaining. In fact, Sam’s reaction to both is the most mature and reasoned of the group, demonstrating she is wise beyond her years and knows when a remark is warranted. Here, Collias excels in her performance too, with little dialogue to rely on but mostly super subtle reaction to the situation in a tight camera framing that suggests she has years of acting prowess behind her.
At the point of no return for the characters, Collias escalates Sam’s emotions but skilfully holds back on overplaying them. Instead her reaction is invested in a deserved revenge that equally portrays Sam’s vulnerability, both in action and expression. Even the expected confrontation at the end is acted in an appropriate fashion as not to become melodramatic because Sam has the upper hand, as the party returns to New York City as changed people.
Good One gives as much as the viewer choses to invest. Hence, sadly, the effect may wash over some audiences expecting greater action. Collias, wise beyond her acting years, gives a breakout performance and is definitely one to watch.
