THIS REVIEW IS PART OF BLITZ’S CONTINUED COVERAGE OF THE 71ST SYDNEY FILM FESTIVAL, 5-16 JUNE. READ THE REST OF OUR REVIEWS HERE. 

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In "Daddio," Christy Hall explores the essence of New York through the lens of fleeting, late-night conversations with complete strangers in the city, in this case, a taxi driver, Clark (Sean Penn) taking a woman, Girlie (Dakota Johnson) home from JFK airport. Capturing moments when strangers connect on a deeper level, their discussions resonate long after the encounters end.

The film, shot entirely inside a cab over just 16 days, seems almost as if its budget was merely the cost of fuel for the cab. This reflects a restrained yet nuanced approach highlighting Hall's skill as a playwright. By focusing on dialogues and subtle emotions conveyed through facial expressions, Hall avoids elaborate sets and grand scenes, opting for intimate performances to showcase the depth of human connection.

Via SFF

The movie opens with a playful exploration of modern technology and programming languages, with the Clark, embodying the archetype of the "charming but hapless know-it-all driver.” Clark constantly evaluates Girlie based on appearances, often concluding "You seem like someone who can handle yourself." As they navigate the city, their exchange begins with broad discussions on topics like the impact of technology on labour and the philosophical underpinnings of binary code, sparked by Girlie's programming expertise. However, when the taxi halts in traffic, the conversation shifts subtly from the superficial to the profound. Clark starts to unravel her deeper thoughts and emotions intuitively. The standstill traffic becomes a metaphor for Girlie's reflection on personal relationships and future goals. Their dialogue delves into contrasting perspectives on sexuality and relationships between men and women, revealing layers of vulnerability and insight. As the conversation deepens, it ventures into more intimate territory, exploring her complex childhood dynamics, particularly her tumultuous relationship with her sister and the absence of connection with her father. These revelations provide context for understanding her current affair. As the journey ends, Girlie reveals another secret from her recent past, leaving Clark and her in tears and allowing the audience to gain the most personal insight into her life.

While Girlie and Clark discuss personal relationships, specifically Girlie's affair, they find common ground in deciding that this relationship may not be good and could be toxic. However, a plot twist causes Girlie to reassess Clark's ideas about men and their desires, contemplating the possibility of reconciling with her boyfriend. Her uncertainty reflects her complex past and creates ambiguity that may confuse the audience. However, it highlights her depth as a character. In my view, it's unrealistic to move on from a relationship just because a taxi driver suggests it. This inner conflict adds a relatable twist to the ending, leaving the audience to interpret the resolution on their own.

This uncertainty in the narrative is also subtly hinted at by Dakota Johnson's unnamed character, a realization that dawned on me only after the movie concluded. Throughout the film, Sean Penn's character, Clark, often referred to her as "Girlie." While the storyline is far from Tyler Dunder's tale in Fight Club, it left me pondering the authenticity of her narrative. Were her reflections on her family or her affair genuine, or could the entire story have been fabricated? Similarly, it raises questions about the veracity of Clark's account. What if he portrayed himself as an idealized character, akin to Winnie, rather than revealing his true self?

Via SFF

Assuming all the stories were true, this movie felt like one of those lengthy conversations I have with a friend—filled with numerous characters and narratives that initially feel satisfying but leave you reflecting to grasp the gaps in the conversation. Like Girlie still contemplating her relationship with the unsettling man and withholding her name. And then there's the movie's title, "Daddio"—does it refer to Clark justifying her Girlie’s “Daddy Issues” or the paternal role he seemed to take with Girlie?

I never found definitive answers to those questions, and I never will unless I speak with the director. Perhaps on a second viewing, I'll uncover some clues.

But is it worth watching again? Probably not.

As an audience member, it feels like I've missed out on more content akin to an active group chat while I was asleep. Unlike more cinematically driven thrillers like Steven Knight’s "Locke" or Antoine Fuqua’s "The Guilty," which thrive on limited settings and characters, this film lacks any dramatic twists or cinematic elements. It doesn't heavily rely on soundtracks or external effects either, making it not any better than an audiobook.

Moreover, the characters are as quintessential as it gets. The strong, independent woman confronts her past while navigating complex daddy issues and childhood trauma, finding unexpected solace and understanding through her interactions with an older, cab driver reminiscent of Ryan Gosling's charismatic character in 'Crazy, Stupid, Love'.

It's simply a conversation during a long taxi ride with very anticipated plot twists and turns.

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Nandini is a 1st-year Psychology student who is probably watching yet another sitcom and making it her whole personality. So, if you ever want to strike up a conversation with her, ask her whether Ross and Rachel were on a break.

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