Andrea Pallaoro’s “Monica” is oblique in its depiction of characters in crisis, yet never obtuse. He and cinematographer Katelin Arizmendi shoot the film in the boxier Academy ratio, locking the film into a nearly permanent state of portraiture.
They capture everyone, but primarily Trace Lysette’s titular character, from intimate and unexpected angles. Monica will be far away, have her back to the camera, cast her gaze downward, or have only a portion of her torso in the frame.
Read more on theplaylist.net