Sometimes a film contains a single scene that feels like its main reason for being. In Sonejuhi Sinha’s grimy-glamorous crime thriller feature debut “Stray Dolls,” it comes late o…
), a vicious petty grifter with a drug habit, whose first action is to steal some of Riz’s meager belongings and hold them for ransom. To get them back, Riz picks the lock on a guest’s suitcase and discovers a satisfyingly hefty brick-shaped package of cocaine, which she passes on to Dallas.
Dallas entrusts the selling of the coke to her shiftless, lizard-brained sorta-boyfriend Jimmy , who is also Una’s son, and who lives on the premises because his mother has clearly never seen “Psycho.” But then Una is herself a nasty bit of work: She shreds Riz’s passport under guise of “safekeeping” and roundly murders Fleetwood Mac during one of her regular karaoke nights.
Sinha does not push the stylization as far as, say, Aaron Katz’s “Gemini,” with which “Stray Dolls” shares a certain kinship. But Shane Sigler’s nighttime cinematography is slickly seedy throughout, reveling in the chemical yellows of buzzing sodium lights and the hot pinks of reflected neon.
For their buddy-dynamic to work, the two actresses have to bring a lot more than is on the rather sparsely underwritten page. But they do a fine job of rubbing the circulation back into characters that could otherwise simply be the inert sum total of their desperations, and they infuse a lovely offbeat chemistry into the scrappy, “Thelma and Louise” arc of their relationship.
The screenplay’s shortcomings, such as the literal signposting of Niagara Falls as a so-near-yet-so-faraway place of escape , are a pity, because Sinha has a sense of location and an eye for the skewering detail that she could have trusted more.
France Dernières Nouvelles, France Actualités
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