A runaway seeks refuge with her aunt and uncle in Baltimore and finds their marriage ending and her cousin in crisis. In the days that follow, the family struggles to let go of the past while searching for new things to hold onto.
A character study as well as a meditation on communication, creativity, and physical space, TAKE WHAT YOU CAN CARRY is a picture of a young woman seen through the interiors she occupies and... See full summary »
This film shows the disaster of the Kuwaitian oil fields in flames, with few interviews and no explanatory narration. Hell itself is presented in such beautiful sights and music that one has to be fascinated by it.
When Taryn, a Northern Irish runaway, finds herself in trouble in Ocean City, MD, she seeks refuge with her aunt and uncle in Baltimore. But Kim and Bill have problems of their own: they're trying to handle the end of their marriage gracefully for the sake of their daughter Abby, just home from her first year of college. A story of family revelations, people finding each other and letting each other go, looking for love where they've found it before and, when that doesn't work, figuring out where they might find it next. Written by
Abby has a poster of Palace on her bedroom door. The actor playing her father, Ned Oldham, was in Palace with his brother, Will. See more »
In the opening scene, Taryn is shown emptying a bin of "clackers," where she is wearing a light blue t-shirt and cut-off denim shorts. In the very next scene, she is still wearing the light blue t-shirt, but now has on tan khaki shorts. See more »
Written and Performed by Bill Callahan
Courtesy of Drag City Records See more »
Taryn (Deragh Campbell) is a runaway from Northern Ireland. She arrives at the Ocean City bus stop in Maryland with little warning. She doesn't know that her aunt Kim (Kim Taylor) and uncle Bill (Ned Oldham) are splitting up. Her cousin Abby (Hannah Gross) is home from her first year of college and is suffering from the breakup. Taryn and Abby tries to find some solace in their dysfunctional family lives.
It's a lot of quiet long uncut scenes without dialog. There are some musical interludes. Some of the characters are musicians and music seems to be important for this movie. Snappy compelling dialog is not as important. That's really what's missing from this indie. Filmmakers Amy Belk and Matthew Porterfield filled this with some family dysfunction but doesn't take full advantage. The problems are never really discussed. It explodes more than anything. There are a few explosions but not much else. This needs to allow the characters talk about stuff and do stuff.
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