Written by Andreas Babiolakis

We’re covering the Academy Award nominees that we haven’t reviewed yet.

Well, folks. The hype is real. I originally had To Leslie scheduled to be reviewed in a number of days after the biggest surprise of the 95th Academy Award nominations took place (Andrea Riseborough squeaking in for a Best Actress nomination after some intense, last-minute campaigning from her acting peers), but with news that the Academy is looking into this campaign (ugh. Please), I figured I’d get to this indie film now. You never know what can happen. Needless to say, To Leslie is actually quite a well rounded indie picture that is worth seeing for a few reasons, and I am hoping that this recent Oscars push gets more people introduced with a film that is sure to bring a tear to your eye. The titular Leslie Rowlands — called “Lee” by her “loved” ones — wins the local lottery for just under two hundred grand, and the start of the feature shows her being approached by a news team to capture her glee. She aims for a better life for her and her son. That doesn’t last very long.

Fast forward to a few years later, and Lee is getting thrown out of her home. She is clearly addicted to something and itching for more (we learn quickly that her biggest disease is alcoholism), and she is as down on her luck as she can be. To Leslie is somewhat of a road film in the sense that Lee moves from location to location and continuously gets kicked out after relapsing or making other mistakes. While the film settles at one point, you just know that Lee is permanently on thin ice, and it actually raises the stakes of To Leslie quite a bit: will she be able to pull through? To Leslie feels like a John Cassavetes film at times: a low budget indie that is able to pull off so many visions of the harrowing lives of others via a strong story (thanks to Rian Binaco) and the kind of direction that gets the best out of a small — yet dedicated — cast (credit to director Michael Morris).

Speaking of the cast, we must talk about the woman of the hour: the permanently underrated Andrea Riseborough who is borderline unrecognizable as Lee in this film. Within minutes I could tell why she was deserving of some Oscars love. This is a visceral, vulnerable, raw performance from someone that leaves it all out on the floor. Not once did I feel like Riseborough was doing a good job: I was permanently sick to my stomach over how Lee was going to get out of this latest mess on screen. I actually felt invasive as I was glued to To Leslie, like this was an actual life falling apart in front of my eyes. That wasn’t acting. Riseborough fully was this character, and I am fully on board this train. Not only does she warrant being nominated, she is fully one of the best nominees of this category.

To Leslie is quite grim, but it does something many likeminded indies fall short of: closure. It’s not that I expected To Leslie to have a happy ending or anything, but too many indie films don’t stick their landings, and it’s easy to see why when you’re constricted by a small budget and no time. The ending of To Leslie is not like this at all. If anything, it consoles you like that kind of hug that gives you butterflies in your stomach (you know the ones: the deep, long, comforting ones). It’s the kind of reminder that To Leslie delivers again and again that this isn’t an acting vehicle (despite how sensational Riseborough is here). This was meant to be at least a good film from the very start because of how rounded it is conceptually. The many tribulations Lee faces all lead to something (and the many people she comes cross are all vital in some way to her own story). The various acts all start and end exactly when they should, and even that epilogue feels well earned (it could have easily felt tacky in other films, but here it feels crucial). To Leslie is good. Nay, it’s great. It will be discovered because of the Oscar nom, but it can easily have some staying power because of how worthwhile the film is. If you’re expecting a strong performance in a subpar film, think again. To Leslie was always meant to resonate.

Andreas Babiolakis has a Masters degree in Film and Photography Preservation and Collections Management from Toronto Metropolitan University, as well as a Bachelors degree in Cinema Studies from York University. His favourite times of year are the Criterion Collection flash sales and the annual Toronto International Film Festival.