Now armed with Woodley, a fitting muse for Doremus, who has not had a performer this suited for his material than his late “Like Crazy” star Anton Yelchin, the filmmaker has begun to move away from couple-centric stories into something more firmly focused on one enthralling character.
But it’s all the other things that Daphne spends the film dabbling in - from living in her put-together sister’s guest house or looking for a job when she has no definable skills or even, as is often the crux of a Doremus feature, engaging in dangerous and immature relationships with unsuitable partners - that make it clear which parts of her are stuck in a life she should have stopped living a decade ago.īut is that ever going to change? Doremus’ films, from the sublime “Like Crazy” and “Breathe” to the ridiculous “Newness” and “Zoe,” have long tracked modern love to an obsessive (and typically unflattering) degree.
Early in Drake Doremus’ “Endings, Beginnings,” leading lady Daphne ( Shailene Woodley) makes a comment to a potential paramour about feeling as if she’s being called to do things a twenty-something might do, like travel the world or join up with the Peace Corps, youthful diversions that a thirty-something like her has no business dabbling in anymore.
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