So much of the screenplay is concerned with the flashy presence of big, topical themes like Trauma, Abuse, and Toxic Masculinity. Garland is intrigued by these themes as talking points, but he is incapable of incorporating them into the lived realities of his characters in ways that feel organically rooted in real-world concerns.
Noe uses two cameras to capture all of their travails in intimate close-up, allowing us to see them both at once using split-screen. Such a formally rigorous approach tends to call attention to itself, naturally inviting questions of aesthetics and perception.
In an echo to his father's 2015 masterpiece Taxi and in the great Iranian cinematic tradition, notably the films of Abbas Kiarostami, Panah Panahi presents this vibrant, bracing, and tenderly devastating family portrait through the pressurized chamber setup of a road movie.