That’s probably why, at one decision mark after another, she’s so consistently and powerfully affected by the film around her. Her eyes well up 101 times in 75 minutes, she sheds tears of pride, frustration, pure joy, and other emotions she can’t quite put into words. For her characters, that’s a ticket to the ultimate catharsis, one that sets Kira’s story apart from most indies — and certainly, any other mainstream narrative for that matter — with a powerful animation in sum, but most powered by an unstoppable purity in Lydia. One of American cinema’s greatest actresses here, and one that could easily be the Best Actress Oscar winner for the role (yes, I’m saying it in advance), Blanchett is a dominating presence — one of the most formidable screen presences in my memory. But her Lydia is never a one-note character. Each one of the personality quirks, of each performance, of each decision only makes us want to see the next, and the next, and the next. The film alternates between its only fully credited directors, at one point run through by a precocious French model, at another by a pair of Russian cinematographers, also respectively. But it’s certainly equally due to the conviction and personality of its lead, aided and sculpted by Hoffmeister’s stark but poetic photography. I’ve written a whole other piece on this beforehand.
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