It’s been a while since the world has been treated to a new Hal Hartley film. The writer/director’s career, which kicked off with 1989’s The Unbelievable Truth, never quite rose to the level of acclaim that was reached by contemporaries like Richard Linklater or Paul Thomas Anderson, but that doesn’t change the fact that he is still a tremendously remarkable filmmaker in his own right, having been responsible for such stunners as Trust, Simple Men, and the Henry Fool trilogy. His last feature was Ned Rifle, the third entry in the aforementioned trilogy, now released over a decade ago. Since then, Hartley has turned to crowdfunding to make his latest endeavor a reality, successfully raising the means to bring Where To Land to fruition. Despite a production that was delayed for several years due to the global pandemic, Hartley’s latest has now seen the light of day, and it’s arguably the director’s most personal film yet. Featuring his coterie of regulars, it seems only appropriate that Where To Land has such humble origins, as the project examines a filmmaker whose life and career is in flux, taking stock of all he has amassed and what his legacy will be when he’s gone. It’s a playful, self-reflexive work, sold with Hartley’s characteristic penchant for witty humor and idiosyncratic dialogue.
Where To Land follows a day in the life of Hartley surrogate Joe Fulton (Bill Sage), an accomplished director dealing with a stalled career and middle age. The opening of the film sees him applying to work at a cemetery, interviewing groundskeeper Leonard (Robert John Burke) for an opportunity to establish any sense of direction in his life. He’s also contending with Muriel (Kim Taff), his stressed-out television superstar girlfriend, now heading into production on the fourteenth season of a fantasy series entitled The Invisible Allura. Joe also regularly meets with niece Veronica (Katelyn Sparks) and ex-wife Clara (Edie Falco), with whom he has remained good friends. Also orbiting Joe’s world is Mick (Jeremy Hendrik), an aspiring television writer who is convinced that he is Joe’s illegitimate son. Joe’s schedule also includes him preparing his last will and testament, forcing the former filmmaker to begin inventorying his possessions for the purpose of deciding who to leave everything to. This sparks rumors amongst Joe’s family and colleagues, who are now convinced the man is dying and hope to make his final days count.
Like Hartley, it’s been a while since Joe has produced any work, having enjoyed a heyday of helming romantic comedies (including one involving a hand grenade) before such dreams became untenable. A position as an assistant groundskeeper at a cemetery feels like the only logical career move, which perplexes Leonard, who finds the filmmaker too well-dressed and intelligent for such a working-class trade. It’s the first of many moments of contemplation, and the rest of Where To Land follows suit, engaging Joe in conversation with friends, family, co-workers, biographers, and other associates, allowing him to evaluate who he is and what he once was. It’s a premise that threatens to tip over into the maudlin, but thankfully Hartley keeps the tone light, taking great care to treat Joe’s existential crisis with good-natured humor and reverence. It’s typical of the Hartley way, as the director has built a career on his beautiful creations of lonely souls searching for purpose in a cruel and unsparing world. Where To Land settles into a similar category, and while it’s a short feature — the end credits hit at the 70-minute mark — it’s still a triumph from Hartley, who very much proves he still has a way with performances and erudite discourse. It’s worth noting that the film does not boast any ostentatious design, typically pointing at the actors to let them do the work, though Hartley does take on his requisite scoring duties, composing lovely work for the film. An accompanying interview with Hartley suggests that Where To Land might actually be his final film, hanging up the director’s hat after three decades of work. While it would certainly be a delightful note to end on, it’s also a vital enough work that we should all hope this doesn’t turn out to be true.
DIRECTOR: Hal Hartley; CAST: Bill Sage, Robert John Burke, Gia Crovatin; DISTRIBUTOR: Possible Films; IN THEATERS: September 12; RUNTIME: 1 hr. 15 min.
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