Steve McQueen does not think his audience is stupid. 

In fact, the dude gives his audience great credit. He does not invest much in exposition. He trusts that you will do some of the lifting in his attempt to deliver a story, and he does this like few directors can. 

For instance: There is a scene in McQueen’s heist caper movie Widows that is so smart and so laden with story detail and, simultaneously, social commentary that it has more potency per tablespoon than cinnamon. And it just involves this car driving while two people sit inside the car and argue. 

When the scene begins, it’s weird because the camera is kept outside of the car the whole time, mainly shooting the landscape of some city blocks over the driver’s part of the windshield. The shot lasts long enough that you become conscious of it and begin to wonder why the director is doing it. 

And then you realize why, and it is an astonishing realization. Because it tells you everything you need to know about the politician inside the car, of his likely expected entitlement, of his legacy, of the distance he can set between him and his constituency and still expect to be elected. That scene delivers the essence of Jack Mulligan’s character, and in fact explains the larger political context generally, and it does not draw a diagram for you to get there. 

And while a heist film like Ocean’s Eight earlier this year was marketed as “hey this is like the Ocean’s movies, but with broads, isn’t that great and progressive and shit?” all that movie did was make a heist movie that was about the heist and replaced the dudes with women. Widows is not about the heist. It’s about the characters, specifically, Veronica, Linda, Alice, and, later, Belle. Their motivations are more urgent than those of Deb Ocean’s petty little revenge quest:  As widows of thieves, they are being pinched by some bad hambres for the money. And these characters, and these actors who play them, they rise to that challenge. 

McQueen’s pacing is dangerous, but effective, as it was in 12 Years a Slave. His story (or perhaps the story of Jayhawk and co-writer here Gillian Flynn) forges the most unlikely of alliances or, perhaps, friendships. And this heist film is not about the heist–in fact, were it not for a few twists at the end there, the heist itself would seem anticlimactic. This is, in my opinion, a feature, not a bug, in the movie Widows. 

So this ain’t your normal heist flick. What it is, kids, is what an artist does. Happy little clouds. All struck up on the canvas that moves. What a perfect movie. 

In Other News

• Aaron found the “drop cap” button.