The appeal of The Real Housewives of New York City is that it’s an environment in which rare depictions of the knotty, strange inner lives of adult women and standard-issue, heavily produced reality TV antics coexist in perfect harmony, where novelistic character development and cheap episodic entertainment take on a symbiotic relationship.
Andrew Ahn’s Driveways is a difficult film to pin down, precisely because there’s so little in it to process, demystify, or explain. There are no set pieces or battle scenes, no dramatic plot twists or betrayals. Instead, it captures life in its simplest, most ordinary forms.