Derek Cianfrance’s “Roofman“: A Surprising Shift to Comedy
Director Derek Cianfrance has long been recognized for his emotionally charged dramas, such as “Blue Valentine,” “The Place Beyond the Pines,” and “I Know This Much is True.” These films, while critically acclaimed, often delve into the darker aspects of the human experience, leaving audiences with a sense of heaviness. However, Cianfrance’s latest project, “Roofman,” marks a notable departure from his usual style, venturing into the realm of crime comedy. This shift not only showcases his versatility as a filmmaker but also offers a refreshing take on storytelling.
A Lighthearted Narrative with Depth
“Roofman” is inspired by the true story of Jeff Manchester, a prison escapee who finds refuge in a toy store and unexpectedly falls in love with one of the employees. Cianfrance employs his signature techniques-rich cinematography, nuanced performances, and a unique editing style-while infusing the film with a lighter tone. The result is a narrative that is both entertaining and thought-provoking, a blend that Cianfrance describes as “deep without being heavy.”
This film feels reminiscent of the works of Hal Ashby, a director known for his ability to blend humor with warmth and intelligence. Cianfrance’s decision to explore a comedic narrative is intentional, especially after the somber reception of “I Know This Much is True,” which many viewers found difficult to watch during the pandemic. “I had so many friends tell me that they had to turn it off when the guy cut his hand off,” Cianfrance shared in an interview with IndieWire. “I was like, ‘Geez, you only made it one minute!'”
Nostalgia and the Early 2000s
One of the film’s central themes is nostalgia, particularly as it relates to the holiday season. Cianfrance describes “Roofman” as a Christmas movie, emphasizing the traditional themes of returning home and rekindling connections. To evoke this sense of nostalgia, he chose to set the film in the early 2000s, a decision that influenced both the visual style and the production design.
Cianfrance’s collaboration with familiar faces from “Blue Valentine” was a deliberate choice aimed at recapturing the spirit of that earlier project. “I was feeling reflective in my life,” he explained. “I wanted to have a bit of a reunion with the people I loved the most.” This reunion not only brought back a sense of camaraderie but also infused the film with a collective energy that resonates on screen.
The Challenges of Modern Filmmaking
Despite his enthusiasm for the project, Cianfrance faced challenges in bringing “Roofman” to life. He noted that many financiers and studios were hesitant to invest in a film of this nature, stating, “I kept hearing from a lot of financiers and studios that they didn’t make this kind of movie anymore.” This sentiment reflects a broader trend in the film industry, where traditional narratives often take a backseat to blockbuster franchises and high-concept projects.
To navigate these challenges, Cianfrance and his team adopted a resourceful approach, ensuring that every dollar spent contributed meaningfully to the film’s authenticity. A significant portion of the budget was allocated to recreating a Toys “R” Us store, where much of the film takes place. “We found this old Toys ‘R’ Us that was completely gutted, and one tile at a time, [production designer] Inbal Weinberg put it back together,” Cianfrance explained. This meticulous attention to detail not only enhances the film’s authenticity but also immerses the audience in the world of Jeff Manchester.
The Power of Film
Cianfrance’s choice to shoot “Roofman” on 35mm film further distinguishes it from contemporary productions. He believes that film possesses a unique texture that digital formats cannot replicate. “If you’re gonna shoot film, it’s the most economical choice to me,” he stated. “It’s also a great format to unify a time period.” This decision aligns with his desire to create a dreamlike quality that enhances the film’s nostalgic themes.
The director’s affinity for film extends beyond aesthetics; he views it as a tool for eliciting powerful performances from his actors. “If you’re shooting two-perf 35mm, with a 400-foot magazine, you get about 11 minutes,” he explained. This limitation encourages actors to fully inhabit their roles, fostering a sense of urgency that can be lost in digital formats. Cianfrance’s approach contrasts sharply with his previous work on “Blue Valentine,” where he utilized digital technology to capture the erosion of a relationship over time.
A Personal Connection to Suburbia
Cianfrance’s personal history also plays a significant role in shaping “Roofman.” Growing up in the suburbs of Lakewood, he has a deep connection to the culture of big-box stores and fast-food restaurants. “I didn’t want to see it in an ironic way or a satirical way,” he remarked. “One thing I have in common with Jeff Manchester is he loves that stuff.” This genuine appreciation for the setting allows Cianfrance to romanticize the environment, creating a cinematic experience that feels both relatable and poignant.
Conclusion: A New Chapter for Cianfrance
“Roofman” represents a significant evolution in Derek Cianfrance’s filmmaking journey. By embracing a lighter narrative while maintaining his signature depth, he invites audiences to experience a story that is both entertaining and reflective. As the film navigates themes of nostalgia, love, and the complexities of human connection, it stands as a testament to Cianfrance’s versatility and creativity. With “Roofman,” he not only reinvents his cinematic voice but also offers a fresh perspective on the human experience, proving that even in the realm of comedy, profound truths can emerge.
