A father and daughter live a perfect but mysterious existence in Forest Park, a beautiful nature reserve near Portland, Oregon, rarely making contact with the world. But when a small mistake tips them off to authorities, they are sent on an increasingly erratic journey in search of a place to call their own.
Moving, perhaps inevitably, toward a final fork in the woods, Leave No Trace condenses big questions into something simple and quietly powerful: two people bonded by blood and shared history, discovering how their needs align and diverge.
The heart of Leave No Trace is the rapport between the father and daughter, and McKenzie and Foster are keyed to each other’s movements, perhaps even each other’s thoughts.
Leave No Trace sprouts into a modest but extraordinarily graceful film about what people need from each other, and the limits of what they can give of themselves.
Granik took a big risk here, making a purposefully small film that rejects familiar notions of dramatic conflict. But her approach works well enough that the most jarring note becomes Foster’s movie-star presence.
There’s a listless, almost meandering nature to the story. The film’s conflict is clear — this is no way to raise a child, and allowed to continue in this fashion, Will risks both his life and Tom’s — and yet there’s no sense of where the script it headed, and no urgency to its resolution.
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