The Line

[An] engrossing, unnerving but unexpectedly sympathetic drama of family dysfunction.

The film is at its strongest when it focuses, in its more understated scenes, on a distressing human tendency: to create distance between ourselves and those who know us best.

As with nearly all great drama, The Line is about conflict, although this particular narrative feels downright radical in the way it rejects aggression as an acceptable means of resolving problems.

It’s a story with a brilliant conceptual framework that never quite coalesces into a satisfying drama.

The problem with Meier’s latest, despite the strong cast and solid direction, is that it explores the tense and thorny nature of blood ties without ever delving into the psychology of it all, often leaving us in the dark as to why the characters behave the way they do.

The Line isn’t without its moments of genuine beauty, but it’s difficult to shake that its distinct lack of a clear story hasn’t given enough space to the characters.