Plotwise, things are grounded and feel authentic. Well, until they do not. At work, already on her final warning, a customer insists he paid with a $20, not a $10. Dakota says something along the lines of she can count, and she knows what he handed her. The customer insists, so instead of getting her manager to count the register and see if it is over, she throws the “owed” money at him. The rub is that for much of the film, Dakota begs to keep her job, busks on the subway, and otherwise is always in need of money for bills. It makes little sense and seems there only to kick the lead further down the pity road. (Full disclosure: my day job is in retail, so it’s not like I don’t understand where she’s coming from. The film doesn’t make it make sense.) It’s an odd diversion, as is a lady going on about an “empty bag.” This one comes so close after Dakota is robbed and freaks out on a guy that the scene adds nothing to anything.
That isn’t to imply or state nothing about the story of Tendaberry works; quite the opposite, in fact. The above incidents stick out all the more because so much of the script is genuine and emotionally resonant. Dakota and Yuri’s love is never in doubt, so the crushing weight she feels when he’s gone is also felt by all watching. The seasons that mark each new moment of her life thematically work. The final 20 minutes are so tender and sweet that the film ultimately is an uplifting experience.
“Johan is a revelation…”
The biggest reason this drama works is Johan. While, at times, the visuals or story beats let her down, the actor never lets Anderson or the film down. Johan is a revelation, turning every selfish or selfless act Dakota commits into a (mostly) believable decision. She pours herself into the role, being vulnerable, sarcastic, mean, and romantic, often within the same scene. Johan deserves to be a star.
Tendaberry is a little messy at times, with odd directorial choices or plot beats that don’t mesh with everything else. But the emotions are true, and Johan is brilliant. Overall, this is a good, though imperfect, feature-length debut from an artist with something distinctive to say about people’s place in the world and how said place can be found.
Tendaberry screened at the 2024 Sundance Film Festival.
"…good, though imperfect..."
