Film has, for as long as it has existed, tackled challenging and complex ideas as a means to open the world up to the experiences of others that may otherwise remain hidden. When this happens, so much of its success lies in the hands of its creators, the manner in which it is approached, and the sensitivity and understanding with which it is handled. Palm Trees and Power Lines is one of those films that requires skilled and empathetic hands to steer the ship.
When teenage Lea falls for Tom, a man twice her age, she becomes enchanted, perceiving him as a solution to all of her problems and a resolution for the disconnection she has with life. Introducing Lily McInerny in her film debut alongside Gretchen Mol and Jonathan Tucker, Palm Trees and Power Lines is dealing with material that walks a fine line that could easily veer into leery exploitation.
Writer and director Jamie Dack rather skilfully rises to the occasion tremendously. Developing her own short film into her feature-length debut, Dack displays real care and consideration when portraying Lea’s experiences, remaining firmly planted in her perspective. Rather than casting a critical eye over Lea’s behaviour, or painting it as a character weakness, Dack instead seeks to emphasise her naive vulnerability with an openness that is far more progressive than the alternative.
Likewise, in portraying, Tom, the older man that Lea becomes hypnotised by, she does not paint him as an overt villain, which would perhaps be the easier decision: instead, we come to understand how easily the charm he casts could be attractive for the disillusioned, with the subtlety of his gaslighting peppered throughout the screenplay in well-measured doses. In a way, the murkiness of his intentions is the most sinister thing about the whole piece and so pervades a general distrust that feels hard to shake even once the credits have rolled.
Lily McInerny demonstrates such maturity in her work, a remarkably layered breakthrough performance that reflects the complexity of the character work and writing. A starring role like this is a massive responsibility but McInerny approaches the role with real guts, offering a beyond her years performance. Jonathan Tucker meets that performance with terrific work of his own, steadily weaving the darkness of his character’s intentions throughout an otherwise charming and captivating performance that reveals the very nature of Tom’s unsettling coercion. Again, it's important that Tucker doesn't overplay the role, and the overall film benefits from his ominous performance.
Palm Trees and Power Lines is a solidly crafted debut that announces a director in complete control of the message she wants to convey. While such difficult subject matter could crumble in less understanding and attentive hands, Jamie Dack - alongside her terrific cast and armed with her own thoughtfully-developed screenplay - tells a powerful tale of grooming and exploitation with sensitivity and understanding. Aided by a rich visual language, Palm Trees and Power Lines is a compelling and well-executed debut feature that quietly unnerves and emotionally devastates.