by Shane Conto, Staff Writer
Are you ready for a devastating trip to the world of feelings? If you are, then you might be in the right kind of mood for Amanda Seyfried’s new drama, A Mouthful of Air. There are certain themes and motifs for films that can always be challenging — sometimes too challenging — for most audience members. Mental illness is quite the challenge when trying to treat it, as well as tackling it as an idea to center a narrative around. Seyfried’s Julie is a new mother (and soon to be a new mother again, depending on what time the nonlinear storytelling is focusing on now) whose previous abuse and illness is coming back with a vengeance. Will postpartum depression overcome her while she tries to be the best mother and wife she can? That is the difficult journey that Seyfried’s Julie Davis must go on in this film.
How does novelist turned writer-director Amy Koppelman tackle such difficult subject matter? She brings plenty of filmmaking talent to this first feature of hers, which allows her to create an immersive and affecting experience for the audience. The sound mixing is notched up at times to make basic sound almost deafening. This effect makes the audience experience the same heightened anxiety that Julie is experiencing. Slowly accelerating editing during key scenes also helps cause that anxious effect, which engulfs the audience in Julie’s feelings as well. There is even a special animated sequence towards the end of the film that is emotionally impactful and connects back to Julie’s profession (a writer of children’s books). There is plenty of emotion as Koppelman creates an atmosphere ripe for some impact.
But does Koppelman’s storytelling and narrative match the other aspects of her filmmaking? The nonlinear storytelling does not always feel necessary and honestly just feels like it is done that way to set up certain surprises along the way. Those surprises are solid, but predictable, and the storytelling approach just feels like it was ripped from This is Us. Why do we need to jump around to some many different times when it could have worked just as well in a linear structure? The story also walks a tightrope between impactful drama and straight melodrama that just feels manipulative. There are plenty of the same scenes where Julie argues against drugs and Finn Wittrock’s Ethan is stuck playing the same buzzkill role every time. Another issue is that most of the characters feel one-note when there are plenty of emotions that the film could have tackled. Wittrock does his best, but he is saddled with the tired and thankless role of the forceful husband.
But what can the cast do to help elevate this material? Seyfried hands in the best performance of her career (hands down for me). She can balance frustration, anxiousness, and depression so well over the course of the film. Wittrock does a fine job with the role he is given. What is most impressive is that both actors are so genuine when playing with their kids. It never once feels artificial as they have a tender vibe with their children. The supporting cast is filled out with Paul Giamatti, Amy Irving, and Josh Hamilton among others, who all deliver fine performances.
Should you be taking this challenging and emotional journey? The finale of the film will gut punch you (you have been warned). This is not an upbeat film, but one that takes a hard and emotional look at childhood abuse (through some perfectly rendered home video footage) and the unfortunate effects on someone as an adult. Impressive first-time filmmaking and a powerful central performance carry the audience to the place they need to be. This is certainly no fun ride, but it will deliver a meaningful and impactful experience.
Grade: B
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