The following is a double review of two recent coming-of-age films followed by images, videos, and observations gleaned from a much longer essay for which these reviews were originally intended.
Jonas did not want to go back. He didn't want the memories, didn't want the honor, didn't want the wisdom, didn't want the pain. He wanted his childhood again, his scraped knees and ball games. He sat in his dwelling alone, watching through the window, seeing children at play, citizens bicycling home from uneventful days at work, ordinary lives free of anguish because he had been selected, as others before him had, to bear their burden.
But the choice was not his.
The Giver (1993), by Lois LowryWhen the first whispers of Richard Linklater's Boyhood reached my ears - or rather my eyes, since I "heard" about it on Twitter - I knew I would like it. Shot sporadically over an entire decade, the film anchors its universal coming-of-age tale in a very specific place (rural and suburban Texas) and time (the post-9/11 era). Onscreen we simultaneously watch Mason, the character, and Eller Coltrane, the actor, grow from 7 to 18. While widely acclaimed, this novel approach has also also been called a gimmick, implying that novelty masks an uninteresting story. But the approach is the story.