Ryan Gosling’s “Lost River”: A Cult Film Ahead of Its Time?

Ryan Gosling’s recent success with “Project Hail Mary” offers a timely opportunity to revisit his 2014 directorial debut, “Lost River.” While critically panned upon release, the film has steadily gained a cult following, prompting a reevaluation of its artistic merits and influence.

“Lost River” – A Nicolas Winding Refn-Influenced Fever Dream

“Lost River” emerged following Gosling’s collaborations with director Nicolas Winding Refn on “Drive” (2011) and “Only God Forgives” (2013). The latter received mixed reviews, but “Drive” remains a standout in Gosling’s filmography [Warner Bros.]. Refn’s stylistic influence is evident in “Lost River,” though Gosling carves out a unique aesthetic vision.

The film stars Christina Hendricks as Billy, a mother struggling to provide for her two sons, Bones (Iain De Caestecker) and Franky (Landyn Joseph Stewart), in a decaying Detroit neighborhood. Bones attempts to earn money by scavenging copper wire, while Billy takes a job at a nightclub featuring unsettling performances. Eva Mendes, Gosling’s wife, appears in her final film role as Cat, a cabaret performer who befriends Billy.

Rather than a straightforward narrative, “Lost River” unfolds as a visually striking, dreamlike experience. Whether this approach resonates with viewers largely determines their enjoyment of the film.

Was Ryan Gosling’s “Lost River” Ahead of Its Time?

“Lost River” premiered at the 2014 Cannes Film Festival before its limited release in the United States in April 2015. Initial reviews were largely negative, with the film currently holding a 30% critic score on Rotten Tomatoes. However, many critics acknowledged the film’s artistic potential despite its flaws.

Brian Tellerico of RogerEbert.com described the film as possessing “images that connect only superficially,” but also noted its “interesting ideas and strong visual compositions.” The film’s cinematography, by Benoît Debie, draws comparisons to the works of Refn, David Lynch, and Terrence Malick.

Interestingly, the film’s aesthetic sensibilities align with a recent wave of filmmakers prioritizing style and atmosphere, exemplified by 2024 horror films like “I Saw the TV Glow.” While “Lost River” may have felt derivative in 2014, it now appears as a precursor to this emerging cinematic trend, influenced by online aesthetics and a “Tumblr-tinged sensibility.”

For those receptive to its unique style, “Lost River” offers a compelling and potentially rewarding cinematic experience, solidifying its status as a cult classic and a noteworthy directorial debut.