Of all the films that played at Tribeca Film Festival’s 25th Anniversary edition, Jamie Adam’s latest feature, Only What We Carry, might have the strangest ensemble assembled. With a fever dream combination of Sofia Boutella, Simon Pegg, Quentin Tarantino, and Charlotte Gainsbourg, Adams unearths an intriguing personal drama that strikes you at your core.
Only What We Carry mostly takes place in a single setting: the eye-watering estate of foul-mouthed publisher John Percy (Tarantino) where an unexpected reunion unburies troubled pasts. Former dancer Charlotte (Boutella), upon returning home, regrettably runs into her estranged former choreographer Julian (Pegg). Despite their fractured relationship they head to Percy’s secluded estate for a weekend of drinks and fun with Charlotte’s sister Josephine (Gainsbourg) and a young couple. However, this weekend has everyone finding themselves in deep introspection.
Although the film’s main location is fairly limited in scope, Adams finds a depth that keeps the conversations within it engaging. The estate is undeniably gorgeous and vast in a way that allows for set changes to feel fresh and hidden personal meaning, especially for John, to be found. The versatility of the location allows for Adams to work within the film’s tight production constraints. It’s worth noting that Only What We Carry was filmed on a jaw-droppingly quick six-day shoot with a mostly improvised script, which makes sense in retrospect.
Although Adams’ direction remains firm, the film is a little too loose in its writing and structure. Dialogue often runs in circles when it comes to touching on issues or dissecting the bad blood between Charlotte and Julian. The film often repeats conflicts or has characters discuss the same things without making much progress forward. Certain scenes are congested with arguments that come off unreadable as it’s just a lot of people talking over each other or spouting awkward dialogue. It doesn’t help that the film juggles a lot of personal plot threads as well. Initially, things start fairly simple as the ripples of Charlotte and Julian’s falling out carries the narrative. Once we get to John’s estate though, the film becomes a little aimless as it drifts between different conflicts, revelations, and relationships.
Yet, even when its improvised approach causes speed bumps, there’s still a lot to like with Only What We Carry especially when it comes to dealing with tender emotions. Despite the cast feeling random on paper, they all play their roles incredibly well and share moving scenes together. Boutella showcases a great range that lets you connect with Charlotte’s spark and unresolved frustration. She excellently evokes a resilience that adds power to Charlotte’s voice and taps into a vulnerability that makes her views on her past with Julian deeply rich. Pegg excels in a rare dramatic role that lets his style of humor eke out through some of the more rigid conflicts he endures. Scenes of Julian working through this strife with Charlotte show new layers to Pegg’s ability. He’s a great centerpiece to the change these characters go through, and there’s one moment of him reading Charlotte’s thoughts on their time together that’ll leave you in a puddle of tears. It’s incredibly powerful.
Oddly enough, Tarantino has a surprisingly tender moment too. Now, Only What We Carry isn’t going to be some big acting turn for the iconic director. His line delivery can be pretty off and he definitely leans into the improv elements of Adams’ direction that cause his personality and humor to overtake scenes. Tarantino nearly plays himself and sticks out terribly at times. But, there are some strong moments where Tarantino creates truly tender chemistry with Pegg and Gainsbourg. There’s also a scene where John highlights a past relationship that might leave some unexpectedly misty-eyed.
There’s some great themes and narrative threads woven throughout Only What We Carry that viewers will definitely connect with. Frankly, the sort of multi-generational couples assembled within this group offers distinct and fascinating perspectives on life, love, and passion. It’s really interesting to see this group find common ground and ultimately gain new insights about themselves that instill real change. The central arc between Charlotte and Julian harnesses strong thoughts on artistic ambition creating irremovable scars. Charlotte presents a thoughtful retrospective on herself and her status as a legendary talent whose best years seem to be behind her, and it’s cool to see Julian’s presence force her to think about her life as a dancer.
Even when the narrative clogs up with forced group scenes, like a needless dining room dance scene, there’s always a scene that follows that keeps the film grounded and engaging. Whether it’s John reflecting on his wife’s passing or Julian questioning his artistic-driven action towards Charlotte. But Adams always manages to highlight what matters most within this group, and it’s what keeps the emotions high.
While Only What We Carry might not always thrive within its improv approach, it’s an emotional ride that often surprises viewers in how deep it cuts. Pegg and Boutella are excellent throughout, with Tarantino not being too shabby either, and Adams’ vision for an ensemble drama maintains its power and intrigue well.
