Junebug
Director: Phil Morrison
Rated M
Palace Nova
Now screening

The 'meet the parents' scenario has been fertile ground for numerous American films. However, the formulaic way in which serious family dysfunction repairs itself in 100 minutes never rings true. 'Junebug' is a refreshing exception which not only recognises the complexity and longevity of family conflicts and resentments, but also the emotional glue that keeps families together despite those problems.

Madeline (Embeth Davitz) is the owner of a small art gallery on the East Coast who prides herself on discovering new talent. When she comes upon an eccentric artist in North Carolina who specialises in confronting civil war paintings where the soldiers all have protruding genitalia (Frank Hoyt Taylor), Madeline travels to North Carolina with her husband George (Alessandro Nivola) to sign him up. As it happens, George's family live in North Carolina prompting Madeline and George to visit them for the first time in the three years that they have been married. George's family consists of his frosty mother Peg (Celia Weston), passive father Eugene (Scott Wilson), bitter and jealous brother Johnny (Ben McKenzie) and his na•ve, charming and heavily pregnant wife Ashley (Amy Adams).

Ashley is smitten immediately with Madeline and adopts her as her new sister. However, the visit also opens deep scars. Peg is forced to grieve again for the son she has effectively lost. Johnny can barely conceal his rage at George's apparent success and Eugene retreats to his workshop to search ineffectually for the means to keep the family from blowing apart. George joins him while Ashley clings desperately to her dream that her child (who she calls Junebug) will repair her crumbling relationship with Johnny. Madeline navigates her way through the dysfunction with good humour, never losing sight of her priority in the signing on of her Junebug recruit.

What I liked about this film was the way in which relationships are formed, tested and survive, even though the damage remains. When tragedy strikes, everyone copes in his or her own flawed and human way. Johnny articulates his anger at George with a single blow with a spanner. Madeline lets Ashley down, but George forgives her - realising that his need to get away from his family outweighs his loyalty. Ashley and Johnny agree to try and pick up the pieces, but no more than that.

The captivating story is enhanced by superb performances from the ensemble cast. Wilson is a veteran of classics such as 'In Cold Blood' and 'In The Heat Of The Night' and Weston, a Broadway luminary. Nivola and McKenzie are actors on the rise; but it is the two women who centre the film. Davitz exudes a cool intelligence and sensuality that contrasts beautifully with Adams's vivacity.

At one point, Ashley reflects, "God loves us the way we are, but he loves us too much to let us stay that way". By the film's conclusion, Ashley's words ring true even if God has inflicted as much pain on his children as joy.

Mal Byrne