Nathan becomes increasingly concerned after Ariane takes on a client who is the adoptive mother of a rebellious 17-year-old, and from the same hospital in which Ariane’s son was born. Nathan’s concern is quite valid, for Ariane begins to peel away all professional accomplishments, courtesies, and opportunities in an attempt to connect with young Logan (played by Matthew Bilodeau), convinced he is her son.
The role of Ariane is not an easy one for general audiences to embrace. She is complex, impulsive, broken, and bereaved. But Siegworth imbues it with a raw intensity that conveys a hardened adult exterior that cracks like an eggshell when she encounters Logan, bringing her back to the troubled teen she once was.
“…anchored by Siegeworth’s modulated portrayal of a woman desperate for resolution…”
Given the narrative conveniences that sometimes disrupt Stolen Season (the brother’s accessibility to his sister’s life is a tad too close at times), having Siegworth front and center throughout was key. While we omnipotently witness her character’s transgressions, we ultimately want her to pull herself back from the brink, which is due to Siegworth’s edgy performance.
Payant adds a number of artistic flourishes throughout that further strengthen Stolen Season, from his cinematography (reminiscent to Newton Thomas Sigel’s composition of lighting and color in 2011’s Drive) to his soundtrack selection (the melancholic soundscape crafted by “We All Inherit the Moon”). Throughout, he punctuates the film with sweeping Oregon coastal shots that provide a calming gloss over the emotional tumult beneath.
Yet having it anchored by Siegworth’s modulated portrayal of a woman desperate for resolution earns Stolen Season its emotional core, which is essential when handling a subject that, despite its beauty, can be tangled with intensity.
"…we ultimately want her to pull herself back from the brink, which is due to Siegeworth’s edgy performance."
