Director: Fabienne Berthaud
Writer: Fabienne Berthaud, Pascal Arnold
Cast: Diane Kruger, Norman Reedus, Gilles Lellouche, Lena Dunham, Q’orianka Kilcher, Lou Diamond Phillips, Joshua Jackson, Laurene Landon
Seen on: 19.6.2016
Romy (Diane Kruger) is on holidays with her husband Richard (Gilles Lellouche). But as they travel through the USA together, all of their old conflicts keep on bubbling up and finally Romy has had it. When one of their fights turns physical, she is sure that she has killed Richard – and flees. She ends up in Las Vegas without any money, but helped by Charlene (Laurene Landon). And then she meets Diego (Norman Reedus) and falls for him hard and fast, despite not knowing anything about him.
Sky tells a story of incredibly dubious choices. And while those stories can be very interesting, it appears that they didn’t realize in the film just how dubious everything is and instead want us to applaud the various turns of events that made me shudder more than anything else. Oh, and it’s racist.
The film starts off okay. The extent of Richard’s assholery is revealed bit by bit, and when he finally tries to rape Romy, her bashing his head in with a lamp seems more than vindicated. That she then has the urge to flee – probably not the wisest decision, but still understandable. That she feels freed and easy when it turns out that she didn’t actually kill Richard but only severely wounded him: granted. But then the film spirals out of control entirely.
Romy decides that she will stay in the USA – visa requirements be damned (it’s not like the film considers any of those practicalities). She meets Diego when he mistakes her for a sex worker, sleeps with him and then catches him with another sex worker. Can you say love and romance? *sigh* [I’ll admit that the PTSD suffering, hardly talking loner is a romantic trope that has worked for me in the past and probably will work for me again. Norman Reedus is hot. But with Diego I was wondering what she saw in him all the time.] For some reason he does give her his address and then seems surprised when she makes her way to his home. Dude, what did you expect? And then it only gets worse from there, decisionwise. This is a film that ends with Romy having a baby [oh, don’t get me started on this – she never was able to conceive with her husband, but then her love to Diego heals all and completes her as a woman, which simply wouldn’t have been possible without a baby. Or something.] as an illegal immigrant in the USA, without much of a support network or any money – and without Diego, who conveniently dies tragically, which means she’s technically homeless and squatting in his house. And this situation is celebrated as some kind of ultimate freedom that she achieved. Yeah, no.
It certainly doesn’t help that the film passes through stereotype country along the way, be it Charlene in Las Vegas, or Diego and his family that seem the embodiment of everything Europeans expect when they hear “white trash.” [That Norman Reedus’ character is called Diego only makes things weirder.] But it’s never worse than when Romy meets some Native Americans who are only in the story to spout spiritual things so Romy may learn and grow and face her challenges. At this point I wanted to scream at the film to just. stop. it. [At least I got to see Q’orianka Kilcher. That is something.]
Kruger gives a decent performance, as does Reedus. The supporting cast is strong (although I don’t know how much of Dunham’s character and its utter offensiveness is to be blamed on her and how much on the script), but more often than not, these characters are disappointingly dropped too fast. The cinematography is very nice. But all of that doesn’t change that I wanted to tear my hair out at most events in the film.
Summarizing: Leave it. Really.