Annie Baker is a playwright known for her spare yet profound works. Her plays, though lacking in conventional drama, captivate audiences with their attention to the subtleties of everyday conversation and the nuances of human emotion. Through her keen observations of people on the fringes of modern society, Baker pulls you into her characters’ worlds and allows you to empathize with their uncertainties and disappointments.
Baker’s debut feature film, Janet Planet, is a testament to her talent as both a writer and director. Like Celine Song with Past Lives, another accomplished playwright-turned-filmmaker, Baker seamlessly transitions to the medium of film. Her writing, characterized by its limpid naturalism, translates effortlessly to the screen, allowing her to capture every nuance of her characters’ behavior.
Baker finds an ideal collaborator in Swedish cinematographer Maria von Hausswolff, whose visuals played a key role in the brooding magnificence of Godland. Shooting mostly in available light and utilizing static frames, von Hausswolff enhances the realism of Baker’s storytelling. The result is a film that magnifies the immersive experience of her plays, inviting audiences to intimately engage with the characters and their lives.
The title of the film, Janet Planet, has no connection to the songwriter and muse Van Morrison. Instead, it refers to Janet, a single mother and acupuncturist living in woodsy Western Massachusetts with her 11-year-old daughter, Lacy. Lacy revolves around her mother, seeking her attention and finding solace in their relationship. The film takes place during the 1991 summer break before Lacy starts sixth grade, and she decides to skip camp to spend more time with her mother.
The film is divided into four chapters, each focused on the entry and exit of different adults in Janet and Lacy’s lives. The first chapter introduces Wayne, Janet’s boyfriend and Lacy’s sullen and migraine-prone companion. Their trip to a mall in town exposes Lacy to a more conventional childhood, filled with fast friendships and shared adventures. However, Lacy is left with unanswered questions, as Wayne is unwilling to engage with her curiosity.
Apart from her mother, Lacy lives in a fantasy world of her own creation. Baker draws inspiration from her favorite film, Fanny and Alexander, which is also told from a preteen perspective. Lacy’s dollhouse, resembling a homemade children’s puppet theater, reflects her imagination and serves as her private retreat. This world on the edge of childhood hints at a more sophisticated imagination and demonstrates Baker’s ability to capture the complexities of adolescence.
In the second chapter, Janet reconnects with her old friend Regina, who becomes a temporary resident in their home. Regina brings energy and a fresh perspective into Lacy’s life, but tensions arise when she clashes with Janet’s boyfriend and former partner Avi. Through Lacy’s eyes, we witness the dynamics between these adults and how they navigate their relationships.
Lacy observes her mother’s interactions with a mix of curiosity and scholarly detachment, often adopting adult concepts and contemplating roles and relationships beyond her years. Her conversations with Janet are both hilarious and poignant, showcasing their unique bond. Lacy’s maturity and emotional acuity, portrayed by the astonishing performance of young actor Zoe Ziegler, adds layers of depth to the film.
Janet Planet explores the theme of falling out of love with your mother, as described by Baker. Watching Lacy grapple with this realization and analyze her mother’s choices adds a dramatic weight to the film. Janet’s confession about her ability to make any man fall in love with her highlights the complexities of her character and the impact it has had on their relationship.
The film is characterized by its unsentimental gaze and the vivid portrayal of its New England setting. It avoids cliche and instead offers a tender wisdom that resonates with audiences. The absence of non-diegetic music and minimal camera movement further enhance the film’s focus on the characters and their emotional journeys.
Janet Planet ultimately concludes with a community contra dance, where Lacy chooses not to participate but contemplates the possibility of doing so in the future. The closing shot captures the range of emotions flickering across Ziegler’s face, leaving audiences in awe of her performance and the film’s ability to evoke complex feelings.
In Janet Planet, Annie Baker proves that her talents extend beyond the stage. Her mastery of human observation and ability to delve into the depths of everyday life translate seamlessly to the screen. The film’s subtle beauty and emotional weight make it a small yet remarkable jewel in Baker’s body of work.