At the last minute, a couple (Lily Collins and Jesse Plemons) decide to spend a few days at their rest home on the outskirts of the city. What was supposed to be an intimate and quiet stay, becomes increasingly complicated and tense, due to the presence of a stranger (Jason Segel) who insists on making the most of the millionaire owner of the property, but without raising suspicions.
The first minutes of fruits of the wind (Windfall/EU/2022), directed by Charlie McDowell, pretend to be interesting and promise a lot, but end up being misleading and falling far short of the hype they generate. That shot that serves as the background for the credits, with that music that invites intrigue and suspense, contrasts too much with the last moment of a film that ends aimlessly and no ace up its sleeve to save it from a nosedive, in which, inevitably, it will end up crumbling and with no chance of recovering.
The tape available on Netflix hangs only by a thread, thanks to two aspects that, for a change, are not strong enough to hold it for so long. The most important are the performances, mainly, of Collins and Plemons. In a convincing way, she is fearful, dependent on her husband and evolves to the point of seeing herself safe and deciding on her own what is the most convenient thing to do to get rid of the apparent dead-end labyrinth in which she assumes herself lost. He, as the expert type in solving everything with money, does not reach the interpretive scope of his partner, but neither is he as limited as a Segel who never defines his personality and just behaves in a way that other. He still seems mean and aggressive, that sensitive and clumsy.
With a script by McDowell himself, along with Justin Lader, Jason Segel and Andrew Kevin Walker, based on a story by themselves, the film also stands out for its images. Although not extraordinary, some shots, angles and camera movements show a slight technical effort, beyond the average.
Except for the above, the film is a disaster, especially because of its poorly executed script (perhaps, the more involved they are, the less chance there is of it being good), which does not define what it wants from its characters or how they should achieve it, in any case. . At times it seems that he leaves them to their free will; by others that it limits them: mostly, the couple can do something to save themselves, and instead of that, they put themselves at the mercy of their aggressor. Later it turns out that they react as they should have from the beginning, but by then that is no longer justified or consistent.
The reasons of the intruder in the house, at first are not clear, then they turn out to be stupid. The wife’s motives for upsetting her husband are sometimes obvious. Later they make no sense. If you add to this that the story falls into common places and it is not difficult to guess where some situations, scenes and sequences are going, the little interest that was had in a film that had everything for a different result, is shattered. . Budget problems? Obviously not. Lack of creativity? Unquestionably yes. See it… at his own risk, as always.
Article published on April 10, 2022 in the 1002 edition of the weekly Ríodoce.