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Kelly Reichardt is the first book-length study of contemporary filmmaker Kelly Reichardt. This book argues that Reichardt’s process-based slow cinema captures the “emergent” quality of contemporary, neoliberal emergencies such as global warming and economic precarity. The book positions Reichardt’s filmmaking in relation to contemporary American independent cinema, the international slow cinema movement, and the tradition of European neorealism. Drawing from these lineages, Reichardt’s cinema emphasizes the local effects of global catastrophes and represents crises as everyday experiences that are slow in unfolding. In this way, the book argues that Reichardt challenges the cinema’s tendency to spectacularize disaster. She makes this critique both through her films’ pacing and her tendency to work with the traditions of genre film, only to deflate their most thrilling elements to reveal what has been termed the slow violence of our postindustrial moment. Additionally, the book considers Reichardt’s frequently thin characterization of her protagonists, arguing that the underdrawn and often unlikeable characters work to challenge audience identification and the expectations that victims of emergency should be especially deserving or empathetic. In chapters that examine Reichardt’s earliest film, her four Oregon-centric films, and her experimental short films, Kelly Reichardt establishes Reichardt as a crucial voice in American independent film, one committed to documenting the challenges of the twenty-first century.

This essay argues that Todd Haynes’s queer visual techniques have a unique political purchase in Safe: they draw attention to the film’s literally and figuratively marginal figures, and to the environmental health risks they face. The film thus represents, without reproducing, the ways that the working poor are rendered invisible.