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The Aftermath
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The Aftermath

As a film critic and as a maker of documentaries about filmmakers, Kent Jones has steeped himself in the best of world cinema and remained engaged with it for years, and so the surprise of The Conductor his first narrative feature as a writer-director, “Diane,” is that there is barely a trace of influence from other films or other directors.

“Diane” is a character study about an older woman played by Mary Kay Place, and it is an unusual, elusive, windblown sort of movie, always twisting and turning and moving in different directions. Whenever “Diane” seems to settle down for a moment to let us comprehend something about the lives of its characters, it jumps ahead or Private Life sideways or away from us; as in life, our understanding of what is happening and what it means keeps shifting. The tone here is elevated and a bit difficult sometimes, but the end point of all this difficulty is transcendent, and then something beyond even transcendence.

Place’s Diane is first seen asleep in a hospital room, with her dying cousin Donna (Deirdre O’Connell, “The Path”) watching over her. Diane is there to help Donna die, basically, but it is Donna Con Man who is there at the beginning to bless Diane with some attention, and that reversal is typical of this movie. Diane is shown as a conscientious woman who is always making lists and visiting her friends and family, most of whom are physically ill in some way; she is barely ever seen at home. We never do find out what she once did for a living, and we only hear about her deceased husband in passing.

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