Watching a Mike Mills film is always a very intimate experience because he draws inspiration from his own life. Beginners was for his dad, 20th Century Women was for his mom, and his new film, C’mon C’mon, is for his kid (whom he raises with his partner, filmmaker Miranda July).
Acting as a time capsule of childhood innocence, viewed from the perspective of the young at heart, C’mon C’mon is an earnest and delicate relationship drama that leaves room for reflection on the vulnerability and importance of human connection.
Johnny (Joaquin Phoenix) is a middle-aged, single man who is consumed with his job as a field radio journalist in NYC. His current project is interviewing kids about their candid thoughts on the future, recording their answers that span the spectrum of incredible optimism to sobering realities. Johnny’s ability to connect with these kids is a foreshadowing of what the universe has in store for him next.
Ever since the death of his mother, Johnny has had a semi-estranged relationship with his sister, Viv (Gaby Hoffmann), so it’s a little surprising that she calls him asking for a favor. Viv is in the throws of navigating through an unhealthy relationship roadblock with her husband (Scoot McNairy) and has to travel from her home in Los Angeles to San Francisco to sort it out.
Viv is desperate for Johnny to watch her young son Jesse (Woody Norman) for the few days she will be gone. Hesitant at first, Johnny sees this as an opportunity to re-connect with the nephew he barely knows. What becomes unveiled as Johnny and Jesse spend time together – which goes from a few days to a few weeks – is the epiphany that, despite being different, they are actually more alike than they know.
In addition to being a touching tribute to his own nuclear family, C’mon C’mon is an ode to the overall challenges of parenting in the 21st Century. It’s easy to see the Mills’ school of thought here – the uncertainty and amazement of raising a human being while you yourself are still figuring out how to co-exist in the world.
Joaquin Phoenix gives a phenomenal performance as Johnny (a man who Mills admits is partly based on himself). Phoenix’s organic embodiment of the character and emotional translucency is on full display, most notably when interviewing the various children for his radio show. Those scenes were not scripted, rather, they are improvised documentary moments between actor and child. As a whole, young people are rarely given the opportunity to answer important questions, and these scenes prove why society needs to start conversating with and listening to these younger voices.
And speaking of paying attention to the next generation, British-born Woody Norman is the film’s biggest revelation. With his mop of messy hair, charming doe-eyes, and precocious sensibilities, his ability to hold his own against a Hollywood heavyweight like Phoenix is not only admirable but downright amazing. Norman disappears into the film, radiating joy in the more lighthearted moments and shedding tears when it calls for emotional release. Together, Phoenix and Norman create a bond that’s raw and honest and should be remembered for the brave journey they take here together.
The other noticeable element is the film’s look. Shot by cinematographer Robbie Ryan (The Favourite, American Honey), black & white gives the film an obvious “cinematic fairytale” look that is more intentional than simply for aesthetic purposes. Life, as well all know, is never black or white. We live in the grey. C’mon C’mon also lives in that grey, tackling philosophical issues that have no clear answer and proposing hypothetical questions that receive varied reactions. What Johnny and Jesse navigate throughout the course of the film is a whole lot of greyness–and it’s a beautiful monochromatic vision.
Complimenting the film’s natural look is the music by frequent Mike Mills collaborators Aaron and Bryce Dessner of the band The National. Their minimalist, gentle sound colors the emotional world of Johnny and Jesse.
C’mon C’mon is full of magical little wonders, but perhaps the most important of all is the reminder that the simple act of listening can be a catalyst for good. Whether it be through intimate moments shared between Johnny and Jesse or the unscripted admissions from youth across the country, C’mon C’mon encourages an expression of unconditional love. Not just to our blood relatives, but to humanity as a whole. Picturing the future is a scary thought when we feel like we’re facing it alone, but trusting that someone will be there for us throughout the journey makes moving forward a little easier.
Distributed by A24. ‘C’mon C’mon’ opens in theaters this Friday, November 19th.
