Hi Hugobolso,I'm glad that our opinions about "Letter"are conflicting,I think varied thought re always more stimulants.
Moreover I read you're in good company because this film has been massacred by critics.
Despite this I think specially in times when often Hollywood offers we"amazing scenic effects"a movie composed almost essentially of first floors and details is something of interesting as well as a fair challenge.This film was not filmed by textbook,the shots try always introspective views,characters emerge from backgrounds blurry or"inconsistent";it seems Anania wants to film their souls.
Use plans so near(for example inside theater)also when differents actors are on scene may seem impractical and unaesthetic,but also makes sense of anxiety,almost claustrophobic;add repetitive lullaby(madness that hovers)and you can see that all well suited to Martine's mood,especially among people.
It's comprensible that"Letter" can dislike just for its particularity,but in mine opinion it's unfair say that a bad direction.
Mainly the most part of sequences are takes like direct plugs(often off-screen voices)like you can be eyewitness close and so perceive details(little direction corrections with camera);all in all this movie gave me idea of the most sincere of tales,the immages appear memories,reminescences of an adrift mind and all film is her message in the bottle.
Are so much the movies with Winona I consider not great films some watchable only for Her presence and you Hugobolso mentioned one of this,but"Letter"it's one of those that I prefer and in the way of shoot of Anania I see something of maniacal even.
Someone in another thread said he saw something in D. Lynch mode in this movie,I can agree if you consider one of classical Lynchian theme that is that every head is a brain and a world(sometimes an universe)but without disturbing the Genius at least Anania you don't have to watch it 10 times to begin to understand something!
Furthermore in this tale with individual reality that"stray"in "absolute reality?"I saw something of philosophical even!
About Her rendering what can I say,we all know Her skill in standing out despite the format,Her expressive ability and lightness with wich She use it or even when She interpreting in istrionic way(so lovely in"Drunk History"posted by Imayne
)but in "Letter"I saw something unpublished for me.Several of Her last movies I miss them but I doubt I can review this kind of performance.
In sequences when She's with the others of the troupe,in the more distant plans(never inter figures however)I found Her absolutely likely,natural;if tou look body mimic,posture of hands(often back of hands facing the interlocutor)you can recognize her easy,the same feeling when I saw Hank in"Skanner Darkly":she is She whit more anxiety that transpires dicretly but progressively.
Now,I think in this kind of performance the real difficulty lies in knowing how to measure all the coprpral signals,little tics,specially when the plans are further restricted and the all interpretation boils down to looks.
In mine opinion She was ALWAYS subtle but intense,ALWAYS well"calibrated"(around 1.05 support practically a still immage of few seconds
)furthemore seeing an unedited Winona I'm ever more excited because it's undeniable that one of Her strenghts is ductility and see Her get away very well in something so diffficult made me fall in love with this film.
In the beginning Hugobolso,when She meet first time J.Franco(even him,that sardonic smile would suffice
and other Katherine Waterston I find very convincing)do not find Her exceptional the way try to hide Her interest for new arrivals?
Definitely Hugobolso if you say that"The Letter"is one of Her worst performances in consequences you can understand so well why She's mine favourite contemporary actress
.