Todd Haynes is perhaps one of the most reliable filmmakers working today; from the soul-igniting Carol to the thrilling Safe and more peculiar Wonderstruck, each of his films offer something different from the last. For his latest, he tackles capitalist horror for invigorating drama Dark Waters.
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Based on the New York Times article, Hayne recounts the story of corporate lawyer Rob Bilott (Mark Ruffalo); his work often involves sorting the legal affairs of deep-pocketed corporations but when a farmer from his home town of Parkersburg, West Virginia, turns up saying DuPont has been poisoning his cows, Bilott reluctantly agrees to investigate to put him at ease. As he starts to do so though, he begins to uncover a web of corruption that extends beyond Wilbur Tennant (Bill Camp)’s rotting farm and into the homes of every U.S citizen with deadly consequence.
A pithy legal drama about a chemical corporation poisoning America’s population isn’t the most exciting one-line sell; a wordy, fact-driven true story also doesn’t seem like the most obvious pick for Haynes, who is known for his quirkier, queer work, yet it’s exactly that attention to detail and consideration for character that makes him the right choice to tell Bilott’s story. And he mostly excels; Mario Correa and Matthew Michael Carnahan offer a great screenplay to work with, elevated by Hayne’s assurance with the material and his skill for atmosphere. The choice to drip-feed the audience details can offer a sluggish first act but, once it finds its footing, it becomes a massively more investing piece of work as we watch DuPont pillaging Bilott’s case and his determination to keep fighting back and bring down the billion-dollar organisation.
The themes are obvious though it makes for a harrowing look at the power of massive corporations such as DuPont; Bilott is the underdog in this story, and we empathise for his cause and share his anger and pain in the face of turbulence. It’s a testament to Ruffalo’s brilliant work for really bringing the humanity out of the script; he leaves his A-list credentials at the door to turn in a fervent performance as the increasingly desperate Bilott. As his paranoia grows, so does our own. We feel trapped as he does. It’s a testament to Haynes’ craft for creating an atmosphere that swallows us whole as it does its leading man; so much so that you’ll be lucky if you leave the cinema not even somewhat enraged by the capitalist corruption this film touches upon. Ruffalo is anchored by a mostly well-intentioned cast though some members, particularly Anne Hathaway as Bilott’s wife (formerly a lawyer that worked alongside him), are wasted.
The pensive approach to the material won’t work for everyone; the relentless beating down on its leading man may prove too despairing for others. But Dark Waters issues its story with blunt force trauma. It’s not flashy, or overdone. Haynes keeps his focus on the narrative and the characters and leaves the execution of it all minimalistic. But the consideration with which he does so offers a great deal of nuance and makes for such an enthralling endeavour; it’s a bleak, biting legal drama that acts as a fascinating observation of paranoia, obsession, and the ghastly power of massive corporations. As such, it’s a story that feels essential in today’s day and age: an essential story that will shake you to your core.
Dark Waters is now playing.
