Nicole Riegel’s debut feature Holler was an unusually sharp bit of indie realism, an unvarnished look at economic depression in the aftermath of NAFTA via a dilapidated Rust Belt by way of the opioid epidemic. It’s taken a few years, but Riegel has finally returned with a sophomore film, the very likable (and occasionally excellent) Dandelion. As more and more independent filmmakers make the leap from smaller-scaled projects to huge Hollywood blockbusters — your pro forma superhero stuff, dinosaur adventures, the Star Wars and Twisters of the world — or look to streaming sites for a steady paycheck, it’s something of a minor miracle that Riegel has stuck to her roots and not been swallowed up by an industry with little use for serious, adult-oriented dramas. Kudos also to star and producer Kiki Layne, a criminally underemployed actress who has helped craft a fine showcase for her many talents.
Theresa (Layne) is a young woman in Cincinnati who performs three nights a week in a hotel lobby lounge under the stage name Dandelion. The film begins with her going through the motions while performing a cover of an old ’90s pop hit; she’s clearly talented, even if her heart isn’t in singing other people’s songs. When she’s not working, she’s caring for her sick mother, begging mom to quit smoking even as Theresa monitors her oxygen tank and prepares her meals. Her limited free time is spent writing and tinkering with songs, but frustrations are mounting. When a co-worker presents Theresa with a flier for an open mic competition at a motorcycle rally in South Dakota, Theresa simply brushes it off. But an argument with her stubborn mom lights a fire, and Theresa sets off on a whim to perform. It doesn’t go well — while Riegel doesn’t belabor the point, it’s not lost on the audience that Theresa is a Black woman performing for a large crowd of white men. They heckle her, and a particularly nasty audience member steals her guitar case from right off the stage. She tries to chase him down, but soon gives up. Dejected and angry, Theresa is preparing to leave just as Casey (Thomas Doherty) arrives with her case. She’s grateful, and he’s impossibly charming and attractive. It’s a meet-cute, and much of the remainder of the film charts their blossoming relationship.
On paper, Dandelion comes across as pretty familiar stuff — especially in an opening stretch that worries — a romantic drama where two people grow together, hit a few stumbling blocks, but ultimately find personal and professional fulfillment. Except Riegel isn’t particularly interested in happily ever after, nor papering over the character flaws of an otherwise dreamy troubadour. There’s a leisurely quality to the narrative here; ample scenes focus on Theresa and Casey as they bounce lyrics and cords off of each other, plucking at their guitars and humming various tunes trying to find just the right one. They jam with other musicians, and Reigel allows these sequences to play out largely in real-time. At its best, Dandelion meanders in productive ways, allowing for a real vision of not only music, but also the process of creating and becoming immersed in a community. Indeed, the romance between our two leads deepens the most during these extended moments, as if something genuine but unspoken is being transmitted via the creation of a song.
Much of the film’s music was written by Aaron & Bryce Dessner, best known as members of the band The National. Their folk-indie sound works well in this stripped-down format, usually counting a guitar or two and Layne’s robust singing voice; at the very least, fans of the band should find much to like here. Working with cinematographer Lauren Guiteras, Riegel shoots mostly in medium closeups, creating an intimacy that is also melded with the maintenance of a polite distance. It’s a tricky balance to strike, but it works well in execution, positioning viewers almost as if they’re part of an audience at a small venue. Occasionally, too, there will be the insert of a sweeping vista, juxtaposing these small human figures against the natural landscape. Theresa eventually makes her way to a place of self-actualization, but not quite in the way one might expect. Dandelion‘s narrative zigs and zags in surprising ways, allowing for a small victory to still represent some sort of genuine accomplishment. Sometimes, being an artist means staying true to yourself, not selling out arenas.
DIRECTOR: Nicole Riegel; CAST: KiKi Layne, Thomas Doherty, Melanie Nicholls-King, Brady Stablein; DISTRIBUTOR: IFC Films; IN THEATERS: July 12; RUNTIME: 1 hr. 53 min.
