The Coen Brothers are arguably the most reliably consistent American filmmakers working today. Considering they write, produce, direct and edit their work, it is astonishing how extraordinarily disciplined and unpretentious they are as artists. Their films never feel indulgent, rather, they feel precise and a perfect length for the story they are telling, and the fact they have only ever put a foot wrong once or twice is something to be marvelled at.
Inside Llewyn Davis ranks among the best films of their career, and taking into account a filmography which includes No Country for Old Men, Fargo, The Big Lebowski and many other greats, that is an incredible achievement in and of itself. In many ways, this is a very different film than we’ve come to expect from them. The quirky Coen humor and razor sharp dialogue is present, but the film has a striking melancholic tone that is perfectly pitched for their tale of a down and out musician. There is a sorrowful aspect to the film, and for the most part, the Coens seem to have abandoned their trademark ironic, detached eye and have actually aimed for a tone that carries a certain unabashed pathos.
Everything from the wonderful soundtrack to the beautifully muted, almost faded cinematography to the titanic performances is honed to perfection. Each aspect is balanced in favour of the film working and it all comes together in glorious harmony as not one element seems to overshadow the other. If anything, however, the film belongs to Oscar Isaac, who gives one of the greatest performances of the year and one of the most iconic in the Coen canon. It is a thematically dense and beautifully constructed film, the kind we have come to expect from the Coens, but one which more than exceeds any and all expectations.
For more on Inside Llewyn Davis, be sure to check out our exclusive video interview with the cast below.