THE NOWHERE INN

Much like the excellent 'Mistaken For Strangers,' in which the dynamic of indie band The National is documented and dissected in unprecedented fashion, the key to 'The Nowhere Inn's' appeal and charm is seeing Clark push the limits of what a music film/documentary can do, or what it can be. At first, Carrie is on board with Clark manufacturing facets of her life for the take of the documentary, but after increasingly zany exploits - including a manufactured relationship with Dakota Johnson ('The Lost Daughter') - it becomes unclear to Carrie where St. Vincent ends and Clark begins. The entire affair is pierced with thriller elements - including an eerie score by Clark herself - and while it does get overly ambitious (especially in the third act), 'The Nowhere Inn' makes it clear that this is exactly the point: a never-ending circle of contrivance with purpose and for effect. As a result, it's hard to find where its ideas are meant to end, even as Clark and Brownstein fully and commendably commit to the bit. Their chemistry is the lifeblood of the film, going beyond the typical buddy comedy tropes to aim at something bigger than itself.

As we become increasingly used to sharing every aspect of our lives with others online, it becomes incredibly hard for artists to keep parts of their life private, so it makes sense that a deep dive into their personal life, such as a biopic or an autobiography, actually ends up remaining shallow when they already lay bare so much of themselves through their art. Annie Clark cleverly finds a way to have her cake and eat it too in 'The Nowhere Inn'. While the meta loop-de-loops do get a bit tangled, it's a funny and intriguing film that asks if the perceptions the famous have of themselves are just as toxic as the ones placed on them by the public.