Grim family drama "Ballast" a courageous debut (Reuters)

PARK CITY, Utah (Hollywood Reporter) - In "Ballast," threepeople struggle mightily against one another and against theirown worst instincts, bred out of deep distrust and badmemories, to reach a kind of equilibrium where they might livecalm, productive lives.

Lance Hammer's feature debut is gutsy -- gutsy for what hewants to achieve and for how he goes about it. The film is setin bleak circumstances in a bleak township and comes at viewersin a style more familiar to European art house patrons thanAmerican moviegoers. Finally, few white filmmakers, evenveterans, have portrayed a black experience with so littleself-consciousness as Hammer.

"Ballast" necessarily limits itself to festival play andtheatrical showings for those eager to catch a new and clearlytalented filmmaker's first work. The film plays in dramaticcompetition at Sundance.

The film, which Hammer wrote, directed and edited, has anaustere, rigorous yet fully engaged aesthetic. Opening creditsdon't get more minimal than this: During an initial sequence,only the word "Ballast" appears onscreen. Scenes that followare short and to the point. Editing compacts the time evenwithin these scenes. Angles are carefully chosen. Only ambientsounds and no music appear on the soundtrack. Characters speak,at least initially, more with body language than dialogue.

In the rural Mississippi Delta in the bitter cold ofwinter, a suicide throws a delicate balance among three peopleout of whack. After sitting with the body for an unknown time,Lawrence (Michael J. Smith Sr.) shoots himself in despair overhis twin brother's death. When he comes home from the hospital,he doesn't even bother to reopen a small convenience store heoperated with his twin.

For the brother's 12-year-son James (Jim Myron Ross and hislong-estranged girlfriend or wife, Marlee (Tarra Riggs) -- themovie is vague about this -- the death might have thisblessing: At the last minute, the brother wrote a letter givingthe mother and child the house they live in. Lawrence pins thenote on their front door.

But the legality of the note is unclear. And how Marleewould sell the house is even less clear. Hammer slyly shootsthe early scenes to disguise a key fact: Lawrence and Marlee'shouses occupy the same property with an imaginary Berlin Wallbetween them.

James is getting in over his head with drugs and the wrongpeople. But he is still a kid at heart. Marlee, who issurprisingly unaware of this, works long hours scrubbingtoilets and still has little money. Her hatred for her exextends to the brother who looks exactly like him.

The situation causes a necessary breach in the Berlin Wall,but only animosity and recriminations ensue. James likespointing Lawrence's gun, which he stole, at his uncle wheneverhe demands money. Lawrence doesn't much care if he shoots.

Hammer gradually lets a glance of sunlight into the gloom,but its power can't be checked. The three have no choice but todeal with one another. It's not easy, and the final note is notthat of peace but of a tenuous truce.

Working with non-pro actors, Hammer pulls authenticperformances that are at times almost too painful to witness.The hurts run deep. The bullet hole in Lawrence's chest isnothing compared to these wounds. And yet "Ballast" is anoptimistic film: The sun finally does break through.

Cast:

Lawrence: Michael J. Smith Sr.

James: Jim Myron Ross

Marlee: Tarra Riggs

John: Johnny McPhail

Director-screenwriter-editor: Lance Hammer; Producers:Lance Hammer, Nina Parikh; Executive producers: Andrew Adamson,John J. Hammer, Mark Johnson, Aimee Shieh; Director ofphotography: Lol Crawley; Production designer: Jerel Levanway;Costume designer: Caroline Eselin.

Reuters/Hollywood Reporter