Certain Women

Those seeking conventional narrative structures and emotional payoffs might steer clear of Certain Women, and they’ll be missing out.

The latest drama from director Kelly Reichardt (Meek’s Cutoff) explores the sometimes subtle barriers that women face in positions of authority with an approach that’s low-key and ambiguous, and never preachy or heavy-handed.

The film, based on a collection of short stories, is essentially divided into three segments linked only by melancholy mood and a rural Montana setting, around tough-minded characters who are also flawed.

Laura (Laura Dern) is a small-town lawyer trying to rid herself of a troubled client (Jared Harris), a construction worker whose anger stems from a workplace compensation claim that’s gone unfulfilled, and his refusal to accept legal defeat.

Gina (Michelle Williams) wants to build a home on some land she purchased with her husband (James LeGros) as a method of keeping their marriage together. Their interaction with an elderly neighbor (Rene Auberjonois) is well-intentioned but turns sour.

Then there’s a ranch hand (Lily Gladstone) who cares for horses but has little human interaction until she wanders into an evening class at the local school being taught reluctantly by an aspiring lawyer (Kristen Stewart), with whom she strikes up an uneasy friendship.

As with her previous films, Reichardt makes the surroundings — in this case, the picturesque Rocky Mountain scenery — an integral part of all three stories. She’s fascinated with the types of extraneous details that many other filmmakers ignore.

Uneven by nature, the screenplay presents strong female characters yet isn’t afraid to convey their vulnerabilities and insecurities.  There are some heartfelt moments along the way, and you don’t even need to be fascinated by the intricacies of education law, regional geology or residential construction.

Certain Women is a showcase for its talented actresses, although the entire ensemble cast is solid. Williams, working with Reichardt for the third time, is an ideal understated fit, while newcomer Gladstone earns sympathy with a powerfully expressive portrayal.

The film is deliberately paced yet rewards patience, with a cumulative effect that’s greater than its individual segments. It allows us into the lives of interesting people who aren’t serial killers or superheroes, but everyday folks to whom we might relate. The result might be conceptually slight, but it’s quietly impactful.

Rated R, 107 minutes.