The best part of Drive is the end(ing)

Unlike Jason, I enjoy films that do not always end with happiness or resolution. As long as this type of ending doesn't come off as some sort of post-modern cliche, I think it can be a really powerful way of putting the burden of resolution on the audience and forcing them to think about their expectations for how the characters and movie should resolve. 

In the beginning of Before Sunset Jessie is being interviewed by a few journalists about his book. They all want to know the answer to the same question: did the characters meet after six months? Jessie refuses (mostly) to answer the question, instead saying that how each person interprets what happens in six months time is an interesting indicator of how they view the world. 

I like this idea, and think that it's mostly true. Endings like this can force the viewer into a more involved and active experience with the film that puts them in the author's seat in a real but purely subjective way. Of course, ambiguous or unhappy endings done poorly can ruin a film. 

These are some of the reasons why I liked the way that Drive ended. To end differently would have been disingenuous to the rest of the film. I think there was a bit of foreshadowing in the first few scenes with Irene and the Driver. First, they ride the elevator together before disappearing behind closed doors. Second, and more telling, the Driver sees Irene at the store and purposefully runs to the other aisle. They only meet when they are in the parking lot and avoidance is too difficult. It's actually a great scene. The Driver pauses at his car. Refn only shows us his back but there is a bit of a resigned sigh and slight setting of the shoulders, as if the Driver is getting ready for the inevitable. His interest and curiosity win and the price is probably going to be high. 

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Jason, great post about Cold Weather. I like when films mess with the "glasses" you've put on in preparation. Cold Weather can be classified as several things. It's part of the mumblecore movement. It could also be considered a mystery. But, overall, I think it's a film about sibling relationships viewed through Doug and Gail's reconnection. Katz plays with the mystery genre to do this, which is what gives the film that unique and unexpected impact you allude to in your post. Like you, I think it's a brilliant film. 

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Last year I was interested in finding some sort of free and expertly curated sources for the history of film. In The Story of Film I've found something that is both that (informative, precise and historically relevant) while being a work of art in it's own right.