After Tilda Swinton wrapped up her talk at the AFI Fest tribute to her career last week, her handlers urged filmgoers to remain in their seats; after all, there was a surprise.
Swinton's new feature - "Julia" - was going to be unveiled for all the dedicated fans who showed up to toast the talented actress at the prestigious event.
In the opening scenes, the producers quickly established that Swinton's character - Julia - was a chronic alcoholic struggling to maintain a semblance of normalcy in her troubled life.
When her main sponsor (Saul Rubinek/Canadian Actor) gives her an ultimatum - clean up, or else hit-the-road - Julia goes into a tailspin.
Will there ever be a way out?
Early in the film, Julia crosses paths with a young Mexican mother, emotionally distraught over the loss of custody of her child to his grandfather.
Soon, the oddball duo are hatching a plot to "kidnap" the child which - ultimately - will kill two birds with one stone.
Swinton's character will acquire a much-needed influx of cash to launch a new life for herself elsewhere (anywhere, please!) while the mother - God bless her - will lovingly turn to nurturing parental duties long overdue.
Understandably, things go awry.
During the course of the "grab" - Julia mows down the kid's guardian with a late-model vehicle - and ends up on the lam when the shocking news hits the airwaves and commands the attention of the local police.
Although Julia manages to set up a drop for a $2 million ransom - the grandfather is a wealthy old coot bent on getting the child back - it is quite evident when she shows at the pick-up location that the authorities are lurking on the sidelines to nab her and recover the young boy.
At this juncture, there is a wild ride into the desert to escape the clutches of the authorities, a few testy moments with the confused victim, then a hair-spin high-speed chase with ICE which triggers Julia's frenzied escape south of the border into Mexico out-of-harm's way (so she thinks).
Now, the plot thickens. (sickens?)
To paraphrase an old line from a popular musical:
"She had it coming".
Because of her carelessness, and a false sense of security, a nasty plot twist unfolds.
In fact, the tawdry tale takes a convoluted turn, into surreal territory.
Suddenly - without warning - the intense drama turns into a show-down at High Noon where gunslingers play for keeps under a dark and moody midnight sun.
Ms. Swinton sinks her teeth into this role and ends up a winner by virtue of a multi-faceted complex portrayal which resonates with truth.
In particular, I was wowed by Ms. Swinton's uncanny ability to take stilted dialogue that any actor would have turned into high melodrama (or kitsch) - and not only make sense of it - but touch the filmgoer in intriguing thought-provoking ways.
A gritty on the edge - emotionally-charged roller-coaster ride - the Berlin Festival stand-out is not an easy one-hundred-and-sixty plus minutes to settle into or be at ease with.
Swinton nabs it, though.
Her performance in Erick Zonca's exotic hybrid thriller is being touted as a sure win for a Golden Bear overseas (Best Actress Award).
All elements considered, "Julia" begs the question.
Can an ill-conceived feature film - gone wild at the helm - rustle up an Oscar nomination for one of its deserving players, in spite of the odds against the fatally-flawed gem?
The envelope, please!
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