Gather around the flickering screen for a tale from Casey Affleck that intertwines superstitions, murder, and an array of peculiar characters. The story features an isolated hermit in his cabin and sinister secrets lurking in the woodshed. If you enjoyed the first narrative, prepare yourself for more, as each story builds upon the last, unfolding with a deliberately theatrical flair. Affleck’s film meanders like an eerie folk tale.
In “Company,” Affleck’s third directorial venture, there is much to appreciate, even if some aspects feel somewhat contrived and overtly quirky. The film opens in a familiar manner with the arrival of a mysterious figure on a dark winter night. This stranger takes a seat and begins to share his story, transitioning from December 1975 to 1953, then to 1903, and eventually crossing the ocean to Europe during the plague era. Nick Nolte portrays a hermit mourning his lost daughter, while Ben Mendelsohn embodies a grim, bitter farmer who is quick to reach for his firearm. It appears both characters are fated for a violent conclusion.
Where does this narrative, revolving around a woman recounting another woman’s tale, lead us? Into the shadows of the woods, of course. The film’s central story, set in the Rockies at the dawn of the 20th century, serves as a flickering beacon. Adelaide Clemens and Scoot McNairy star as Rebecca and Emmett, a weary farming couple who stumble upon a teenage boy named Caleb, played by Atticus Affleck, the director’s youngest son. Caleb’s initial awkwardness gradually evolves into a more compelling presence as the story progresses. He claims to be much older than his appearance suggests, mentioning travels to distant places like Argentina and London. As Rebecca begins to suspect him of being connected to a series of grisly local murders, Caleb’s ominous statements do little to alleviate her fears. “This whole world is tall grass,” he warns. “You have no idea of the dangers underfoot.”
Affleck co-wrote “Company” with Ron Hansen, known for “The Assassination of Jesse James by the Coward Robert Ford,” which Affleck starred in back in 2007. In that film, he played the ambivalent character of Ford, who was torn between admiration and hostility towards his idol. A similar unsettling duality can be found in Caleb, who, after arriving at the farm, shows no urgency to depart. Caleb could be a fantasist seeking work in the mountains, or perhaps a malevolent figure from the wilderness.
Throughout his career, Affleck has seen both peaks and valleys since his notable role in “Jesse James.” He earned an Oscar for Best Actor in “Manchester by the Sea” and appeared as an intelligence officer in Christopher Nolan’s “Oppenheimer.” However, his off-screen life has been marred by allegations of sexual harassment, which were subsequently settled out of court. This backdrop may explain why his current project occasionally reflects themes of self-pity and features male characters who feel wronged and disbelieved. The hermit’s wife met her end at the hands of a remorseful physician, and Emmett witnessed his father’s murder by a privileged landowner. The justice system seems ineffective, leaving the innocent abandoned. Yet, these heavy themes sometimes verge on pleading for sympathy, adding little to the overall narrative and possibly detracting from the story’s flow.
“Company” is ultimately more rewarding when it returns to its central theme, focusing on the fire and the core storyline, embracing classic American Gothic elements. Affleck’s passion for this darker sub-genre is evident, and his enthusiasm is contagious, drawing the audience deeper into the tale. The film serves as a captivating diversion, albeit one that may not completely coalesce. It offers a rich, gamey essence with a hint of danger in every moment. The film cautions against wandering into the woods after dark and advises caution should a mysterious visitor knock before dinner, urging viewers to think carefully before introducing them to their company.
“Company” was featured in competition at the Venice Film Festival.
