Naomi Jaye, both writer and director, spins an extraordinary tale in her latest film, 'Darkest Miriam'. Using the superficially simple story of a quiet librarian, Jaye crafts an eloquent and enthralling cinematic marvel. Britt Lower portrays Miriam, who spends her days in a Toronto library and her lunchtimes alone in a local park. Her seemingly content existence bounds on the robotic, her demeanor hinting at an underlying sadness or possible complacency.
The story takes a turn when Miriam embarks on a relationship with Janko, (Tom Mercier), a Slovenian taxi driver and artist. This narrative thread is combined ingeniously with explorations of Miriam's internal thoughts and perceptions, shifting elegantly between her memories and observances without ever losing touch with reality.
Lower's performance channels the multi-layered reality of Miriam, hinting at depths of grief under her poised calm. The film also features humorous moments, especially through Miriam's monotonous description of eccentric library visitors such as 'Suitcase Man', 'Fainting Man', and 'Unusually Pale Female Patron'.
The film assumes a surreal tone as Miriam finds letters hidden in books, signed by a mysterious 'Rigoletto' - a reference to the opera she attended with her father as a child. The letters seem to describe Miriam’s movements within the library. Yet, this isn’t treated as a classic detective story. Instead, it morphs into a psychological mystery, unravelling Miriam’s past and hinting at her deceased father's role in her life.
Mercier's character Janko mirrors the film's subdued tone. He gives Miriam the nickname, Darkest Miriam, revealing a tinge of darkness in himself through his all-black canvas paintings. They create a seemingly well-matched couple.
The film transcends normal cinema narrative, leaving viewers with the freedom to interpret the unexplained. Miriam’s life seen through Jaye’s lens teeters on the edge of the fantastical, allowing for deeply impactful moments, such as when Miriam falls into a construction pit while cycling home and chooses to silently stare at the stars instead of expressing her distress.
'Darkest Miriam' is a testament to Jaye’s skills both as an installation artist and a filmmaker, displaying her keen sense of visual storytelling. The film is filled with diverse cinematic choices that help frame Miriam’s character, from viewing her through windows or against doorways, to transitioning scenes by focusing on the park's plants and flowers.
In an unforeseen twist, the film's climax reveals Miriam's profound emotional pain, yet ends on a hopeful note. Infused with both sorrowful and optimistic tones, 'Darkest Miriam' stands out as a uniquely compelling work of art – a true testament to Jaye's unique craft.
