'Horse Girl': Film Review – This Netflix original flips the 'inauthentic tweeness of the generic, quirky indie comedy,' says JessicaKiang
’s fourth Sundance feature after “Life After Beth,” “Joshy” and “The Little Hours.” Or rather, a funny thing stops happening: the familiar, steady-heartbeat rhythms of the low-budget social awkwardness comedy become erratic, tachycardiac, as the initially endearing foibles of the film’s heroine, Sarah , are found to have deeper roots and more painful ramifications than feels right to laugh at.
She has endured a recent tragedy — her mother’s suicide — as well as a childhood trauma that has something to do with a riding accident, the horse she adores but no longer owns, and the friend she visits who has mild brain damage and motor function impairment. She has an obsessive love for a schlocky TV show called “Purgatory” — a sort of “Buffy the Vampire Slayer” riff about demons and detectives that stars Robin Tunney and actually looks like pretty good fun.So far, so bittersweet-adorkable.
At times, DP Sean McElwee’s photography can feel anonymously bland, but its prosaic register has a point, bedding even the most outrageous of Sarah’s visions and dreamstates into reality. Ryan Brown’s editing, too, does a fine job of sliding us invisibly from reality to unreality and back again, while Josiah Steinbrick and Jeremy Zuckerman’s elastic score, by turns menacing and comforting, often plays like an otherworldly counterpart to the sensible, down-to-earth imagery.
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