It’s an odd choice for Bahrani, given that the filmmaker’s two previous feature films—Man Push Cart and Chop Shop—are regarded as masterpieces of contemporary neo-realism, eschewing traditional narrative for immersion in the routines and everyday joys and tragedies of their characters. Solo takes a less oblique approach, urging us forward through a story engineered for melodramatic sparks.

I’m new to Bahrani, so I can’t comment on whether or not this is and odd choice, I only know that it seems an odd choice based on what you and others have said about his previous neo-realist films. I plan on seeing Chop Shop very soon. I think what may make some people dislike, or rather question, the ending (as Sam alluded to in his comment) is that melodrama often makes viewers uncomfortable. I was moved deeply by the ending and the way Bahrani lets the scene just wash over you…subtlety is so important and Bahrani understands this crucial element of Minimalism. He lets the viewer contemplate with the characters — creating a quiet, sometimes uneasy, film experience, because we are left to fill in the blanks and look deeply into the eyes of the characters. Which leads me to your next comment I love:

Bahrani observes the emotional complexities of the situation with stunning delicacy. He attunes the viewer to them not through endless expository dialog, but by focusing on his actors’ faces. Savane, so glib and enthusiastic throughout most of the film, slows Solo down to devastating effect in select scenes, his eyes red and tongue thick in his throat. West’s ruined visage, all leather pouches, becomes an edifice of testy regret, all misanthropy and directionless rage simmering beneath a lethargic facade.

Wow wow wow. Great stuff here. I have to say…all I could think about during the final moments of the film was what an amazing job Savane does in showing Solo’s real feelings. As the dreadful day looms closer his loud, in-your-face glee begins to steadily lose its steam as he realizes he is going to have to see this tragedy through. It’s a stunning performance that hits all the right notes.

And you’re so right about the films power through long takes of characters faces. I was so glad that by the end William said nothing to Solo. There is no unnecessary dialogue in the film — in other words, there is no dialogue here designed to tug at the heart strings and play upon the cliches that are evident in a film like this.

It’s one of those rare films that invites us to think about the way the characters think, to ponder their anxieties, speculate on their hopes, and confront their fears.

Amen. Again, I immediately jotted this down in my notes after credits rolled. I love these minimalist films where the director trusts their audience with these quieter, contemplative moments. It reminded me a lot of a Dardenne Brothers movie or one of my favorites from 2008 Wendy and Lucy.

Great review Andrew. This will certainly sit near the top of my year-end list.

I can’t do enough to raise the profile of Of Time and the City. It’s now hovering near the top of my pending Best of 2009 list as well.

It’s one of those rare films that invites us to think about the way the characters think, to ponder their anxieties, speculate on their hopes, and confront their fears.”

These are utterly brilliant insights, but this entire review raises th ebar for what I’ve read (and written) about this film, which would at least be among the top 10 films I’ve seen so far this year. I agree that it’s a character driven piece that pretty much shows no interest in a cogent narrative, yet it nonetheless builds to an emotional climax that’s hard to be unmoved by. I have a friend who opposed me on this film, deriding the ending as a shameless display of what he refers to as “Spielbergian cinema.” It’s ludicrous, but in the end I’ll just have to agreee to disagree.

It is to be noted that your review on Terrence davies’s magnificent TIME IN THE CITY (one of my top films of 2009) is one of the very best I’ve seen.