Nominee
A person in the context of time is such a small thing, and the moments that mold us, the ones that make us specifically who we are, are only important because of us. They will be gone once we are gone, and perhaps even before as their size and shape disappear from our own memory.
Boyhood is a testament to these stories, it tells of the early years of a boy named Mason Evans and although the story is linear it is not complete because only certain moments stay with you, the ones that continue to mold your present.
I can only imagine how truly daunting this task actually was, in some ways its unbelievably simple; tell the story of a boy growing up, but when you are given twelve years to create this film there must be total dedication to your craft. Every aspect must be focused and honed toward one goal with terrifying perfection, and I must say, I believe Linklater delivered. From cinematography to narrative structure this piece was strong because all components were in agreement: This story is worth telling.
As we follow Mason through his life with his single mother, sister, and semi-available father we witness abusive stepfathers, strained monetary circumstances, first loves, and first heart breaks. And while all of these things already make the character empathetic what makes him even more accessible is the cinematography. As he grows so does the camera. Like our own memories, as Mason gets older the more detailed the world around him becomes creating some of the best realism achieved on camera. He begins the film as an observer staring at clouds, and watching his father and mother fight through a window not knowing what they are even saying. The camera expertly echoes this with point of view shots, but by the end he has come to know his own world and the camera is no longer an isolated observer but rather an active participant. The frame finds this same abandon and ends the film by being in the thick of the action as Mason begins his first days of college.
This attention to Mason's context is also seen in the narrative structure. Just as the camera finds his current role within the time frame, the story only tells the parts of his life that really influenced him, the horrific realities and the simple moments as if ripped from Mason's own memory. And as we skip forward from one moment to another we have the privilege of watching all of the characters transform.
This would not be possible without the incredible cast that took the time to create a piece as risky as this, and their labors certainly paid off. Patrica Arquette expertly fluctuates through confidence and uncertainty as the mother, which is well complimented by Ethan Hawkes rather linear trajectory from fair weather young father to responsible adult. I must also commend Ellar Coltrane for growing up in front of the world on film. He gives a subtle perforamce and I am curious to see what else he will do.
If I have any qualms I could have done without Linklater's daughters performance as Mason's sister. I found it rather grating, but nepotism is hard to combat. Also the film does push three hours which does become rather tedious towards the end.
Overall: The reality of this story is what makes it so substantial, and yet it is influential without being blatantly weighty. I congratulate Linklater for this twelve year labor of love. I also thank his producers for supporting a risky but important project. They cultivated unconventional creativity. This film shows that every person has a story worth hearing, even if its small in the scheme of things. Happy Watching!
