The über-low-key drama Beeswax embodies a stride forward for mumblecore progenitor Andrew Bujalski, though not a huge one. It's the tale of twin sisters in Austin, TX -- the paraplegic, wheelchair-bound Jeannie and the jobless, single Lauren (played by real-life twins Tilly and Maggie Hatcher, respectively). The former runs a vintage clothing boutique called Storyville, the latter, fresh from a recent breakup, is considering accepting a job that will involve teaching English in Nairobi. A conflict erupts between Jeannie and her business partner, Amanda (Anne Dodge), involving the proprietorship of Storyville; Jeannie seeks legal counsel, fearing that the conniving Amanda will sue her. Meanwhile, Jeannie also falls into a renewed romance and a deeper friendship with one of her exes, genial law student Merrill (Alex Karpovsky).
Though Bujalski's two prior efforts felt undeniably sweet and charming, they suffered from a few key problems, all tied to the mumblecore style. Most prominently, the endless meandering and weak narrative structures prompted one to question the thematic foundation of the drama. The films also suffered from the affectedness of the acting styles on display and shoestring production values.
Beeswax improves dramatically on the narrative weaknesses of Bujalski's prior work. One of the inherent marvels of the film involves the deceptive impression of a lack of structure that suddenly and beautifully reveals itself in the final sequence. For much of the duration, we may find ourselves questioning where the drama is headed, and even if it has a particular destination in mind. But the final sequence sums it all up neatly and brings everything preceding it into razor-sharp focus; it becomes clear that the narrative is a series of thematic riffs on the emotional bonds that individuals can rely on to help one another get through life's turmoil, and the fractured or broken bonds that can make circumstances extraordinarily difficult. Bujalski's insights into his characters strike one as suitably mature and wise, if not quite profound.
Despite these assets, however, the acting style and low-budget production values leave something to be desired. As in other mumblecore outings, the neophyte actors attempt to achieve realism by stuttering and stammering their way through scenes, and interjecting humorous non sequiturs at right angles to conversations. And that feels pretentious and strained, not real. A handful of other American features from the past decade (notably Josh Sternfeld's Winter Solstice [2005] and Nicole Kassell's The Woodsman [2004]) succeeded in pulling the audience into the poetry of everyday lives. But those films also benefited from the presence of major A-list actors who knew how to pull off naturalism without visibly straining, and the films recognized that audiences naturally embrace certain cinematic conventions, such as polished cinematography, as real.
Beeswax misses those insights and suffers for it to a certain degree. We never quite forget that we're watching a film, and as a result, we fail to become completely enveloped by the drama unfurling onscreen. Though competent, the performances feel rehearsed.
The picture feels pleasant, though. Both lead actresses here come across as transcendently likable, projecting spunk, humor, and grace -- especially Tilly Hatcher (a paraplegic in real life), whose face and muscular upper body demonstrate a tough resilience alongside a gamine-like softness and playfulness. Bujalski obviously carries overwhelming admiration for his female performers and the characters they portray, and his feelings are thoroughly contagious.