"The Listener" is a very very quiet film. The story of a woman who works as a telephone counsellor naturally holds the material for various psychological thrillers. But that's not the case here, even though one or the other caller certainly carries the potential for dangerous encounters. Beth, her working name, is very unagitated and sensitive with her customers, tends to block personal questions and even hangs up when the conversation suddenly starts to drift towards phone sex. But even the average caller demands all of Beth's attention, a fact that we learn in the course of the film is what Beth likes most about this job. In general, despite her detached attitude towards personal issues, we slowly learn more and more of her story as well.
Director Steve Buscemi, in front of the camera more specialized in gangster roles or losers, shows himself here from a completely different side, takes himself as a director very back and leaves his great actress of Beth, Tessa Thompson, all the space she needs. The camera glides unobtrusively with her through the rooms, while the voices of the callers more or less get to her and demand a lot from her. More and more she feels lured out of her reserve in the course of the evening and her protective wall crumbles visibly.
Tessa Thompson, who is also one of the producers of the film, is in full control of her role and that is what keeps the viewer tuning in. Her acting leaves enough questions unanswered to make this so uncharacteristically American film worth our attention until the last minute.
The film is done in rich warm tones, we feel comfortable here with Beth, the camera doesn't leave the house until the very end. We experience a night with Beth on the phone, all callers remain voices, except for her only her dog is present. The camera keeps finding new positions to hold our attention in this very limited setting. Despite this simple situation, the film never gets boring, each caller is exciting because, like Beth, we have no idea what his/her motive is for calling. Nevertheless, there is a great sense of release at the end when Beth finally walks her dog at the end of her shift and we can take a breath with her and look at the city in the morning haze.
Director Steve Buscemi, in front of the camera more specialized in gangster roles or losers, shows himself here from a completely different side, takes himself as a director very back and leaves his great actress of Beth, Tessa Thompson, all the space she needs. The camera glides unobtrusively with her through the rooms, while the voices of the callers more or less get to her and demand a lot from her. More and more she feels lured out of her reserve in the course of the evening and her protective wall crumbles visibly.
Tessa Thompson, who is also one of the producers of the film, is in full control of her role and that is what keeps the viewer tuning in. Her acting leaves enough questions unanswered to make this so uncharacteristically American film worth our attention until the last minute.
The film is done in rich warm tones, we feel comfortable here with Beth, the camera doesn't leave the house until the very end. We experience a night with Beth on the phone, all callers remain voices, except for her only her dog is present. The camera keeps finding new positions to hold our attention in this very limited setting. Despite this simple situation, the film never gets boring, each caller is exciting because, like Beth, we have no idea what his/her motive is for calling. Nevertheless, there is a great sense of release at the end when Beth finally walks her dog at the end of her shift and we can take a breath with her and look at the city in the morning haze.