During a weekend backpacking trip in the Catskills, 17-year-old Sam navigates the clash of egos between her father and his oldest friend.
Good One, directed by India Donaldson, is a quiet yet impactful film that delves into the complexities of family and gender dynamics. Set against the backdrop of a remote wilderness, the film explores the tensions and unspoken conflicts that arise when three individuals—two divorced men and a teenage girl—find themselves on a camping trip that gradually becomes anything but serene. Through a slow-burn narrative, Donaldson skillfully reveals the underlying power struggles, vulnerabilities, and shifts in perception that occur over the course of the weekend.
At the heart of Good One is Sam (Lily Collias), a 17-year-old girl who is thrust into an uncomfortable situation when her father's friend's son drops out of the joint family camping trip. The awkwardness is palpable from the start, as Sam finds herself caught between her father, Chris (James Le Gros), and his friend, Matt (Danny McCarthy), both of whom are struggling with their own issues stemming from recent divorces. What begins as a seemingly innocent excursion slowly transforms into a tense and unsettling experience, as the dynamics between the trio shift in ways that are both surprising and inevitable.
The film's narrative unfolds in a way that feels organic and true to life. Donaldson avoids the typical dramatic confrontations that might be expected in a story about such fraught relationships. Instead, she opts for a more nuanced approach, allowing the tension to build gradually through small moments of discomfort and miscommunication. This restrained storytelling style serves the film well, as it mirrors the way real-life conflicts often simmer beneath the surface before boiling over.
The central theme of Good One revolves around the idea of competition—specifically, the way the two men in Sam's life vie for dominance and validation, not only from each other but also from the outside world. Both Chris and Matt are trying to prove themselves as "good" men, yet their actions reveal the flaws and insecurities that have led to their respective divorces. They engage in a subtle form of one-upmanship, each trying to outdo the other in terms of parenting, masculinity, and even moral superiority. This competitive dynamic is most evident in their interactions with Sam, who becomes the unwitting mediator between them.
Sam's role in the story is one of quiet observation. She is intelligent and perceptive, yet she often finds herself marginalized by the adults around her. Her father and his friend, despite their outward displays of care and concern, fail to truly see her for who she is. Instead, they project their own insecurities and expectations onto her, treating her as a pawn in their ongoing battle for validation. This condescension, though subtle, is ever-present and contributes to the growing sense of unease that permeates the film.
As the weekend progresses, a significant turning point occurs—a moment that shifts the dynamics of Sam's relationships with both her father and Matt. This moment, which arrives late in the film, is both surprising and entirely in keeping with the tension that has been building up to that point. Without giving away too much, it is a scene that underscores the fragility of trust and the impact of betrayal, especially within the context of family.
The film's exploration of gender dynamics is particularly noteworthy. Sam, as the only female character, is constantly reminded of her vulnerability in a world dominated by men. The film subtly highlights the ways in which societal expectations and gender roles play out in even the most mundane interactions. Whether it's being relegated to the backseat, tasked with domestic chores, or simply being dismissed when she tries to voice her opinion, Sam is continually reminded of her "place" in this male-dominated environment. Yet, despite these challenges, she remains resilient and determined to navigate the complexities of her relationships with grace and dignity.
The cinematography in Good One is another highlight. The film makes excellent use of its natural setting, with the vast wilderness serving as both a refuge and a place of hidden dangers. The camera lingers on the landscape, capturing the beauty and isolation of the surroundings, while also conveying the sense of foreboding that hangs over the characters. The sound design is equally effective, with the ambient noises of the forest creating an immersive atmosphere that draws the viewer into the world of the film.
The performances in Good One are uniformly strong, with Lily Collias delivering a standout performance as Sam. Her portrayal of a young woman caught between childhood and adulthood, struggling to find her voice in a world that often silences her, is both empathetic and compelling. James Le Gros and Danny McCarthy also excel in their roles as the two flawed yet sympathetic men, each grappling with their own demons while trying to maintain a façade of strength and stability.
Donaldson's direction is assured, with a keen eye for detail and a deep understanding of the subtleties of human behaviour. Like the work of filmmakers such as Kelly Reichardt, Good One is less concerned with overt drama and more interested in the small, telling moments that reveal the true nature of its characters. Whether it's a fleeting expression, a hesitant gesture, or a loaded silence, every element of the film feels carefully considered and purposeful.
Good One is a film that lingers in the mind long after the credits roll. Its slow-burn approach may not be for everyone, but for those willing to engage with its deliberate pace and understated storytelling, it offers a rich and thought-provoking exploration of family, gender, and the complexities of human relationships. By the time the camping trip is over, none of the characters—or the audience—will ever look at each other quite the same way again.
All in all, Good One is a quietly powerful film that speaks volumes through its restraint. It is a compelling meditation on the ways in which we navigate our relationships, both familial and otherwise, and the sometimes-painful truths that are revealed when the veneer of politeness is stripped away. With its strong performances, beautiful cinematography, and thoughtful direction, Good One is a film that deserves to be seen and appreciated for its subtle yet profound insights into the human condition.
Good One is one of 105 films screening as part of the Whānau Mārama New Zealand International Film Festival (NZIFF)
The full programme of 2024 films is outlined here.
Tickets can be booked online at www.nziff.co.nz