A young woman, working as a software developer, arrives at JFK after spending a few days in Oklahoma with her sister. She gets into a taxi driven by Clark, a straightforward and talkative driver. A candid dialogue quickly develops between the two, ranging from light topics to deeper, more complex ones. A car accident on their way to Manhattan prolongs their journey, giving them the chance to get to know each other more intimately. Clark senses that the passenger is involved in a relationship with a married man, and drawing from his personal experiences, tries to dissuade her from continuing this situation. The night turns into an emotionally intense experience for both of them.

The protagonist appears to be an emancipated and self-assured woman but unexpectedly discovers a deeper vulnerability within herself. Clark, seemingly a simple man, reveals an unexpected sensitivity, sometimes pretentious, alternating between seductive and protective.

The film, directed by Christy Hall and starring Sean Penn and Dakota Johnson, unfolds as an intense and transformative conversation set in the microcosm of a taxi. The plot follows an apparently casual encounter between a taxi driver and a young passenger that turns into a journey of inner exploration and existential reflection.

From a psychoanalytic perspective, the taxi serves as a transitional space, a sort of "mobile therapy room." The conversation, woven with confessions and revelations, leads both characters to confront unresolved emotional issues and renegotiate their relationship with the past. Clark, the taxi driver, becomes an almost analytical figure, sharing what men “always” want from women and presumptuously guiding the young protagonist in a dialogue that delves into her deepest desires and moral dilemmas.

The film explores, in a fundamental way, the concept of existential authenticity. In their interaction with the other — a stranger who becomes a mirror for their contradictions — both characters question the meaning of their life choices. The taxi, enclosed and protective, becomes the place where "truth" emerges, far from the distractions and superficiality of daily life.

The existential aspect of the film is heightened by the absence of external action: everything revolves around language, glances, and pauses. The New York night, visible through the taxi windows, represents a vast and chaotic world, contrasting with the intimacy of the dialogue within. This creates a parallel between the inner search and the vastness of a shared human experience: the urgency to connect and understand oneself through the other.

With a visual minimalism reminiscent of theater, One Night in New York demonstrates how even the most ordinary encounters can become extraordinary — a journey not only physical but deeply human and potentially revelatory. The performances of the two actors, with dialogues rich in nuance, perfectly serve as a reflection on the nature of encounters and the possibility for change that every relationship brings.

One Night in New York — though perhaps better left under its original title, Daddio — offers a basic exploration of the differences in male and female perspectives on relationships, especially when it comes to sentimental and relational choices. This dynamic clearly emerges in the dialogue between the two protagonists. Clark represents a male perspective tied to experience and memory. In a significant moment, he tries to dissuade the protagonist from continuing a relationship with a married man, suggesting that such a choice involves betrayal not only of the other person but also of oneself.

The protagonist embodies a female perspective characterized by emotional exploration and the search for authenticity. Her position, shaped by a past relationship with her father and influenced by a desire for connection, highlights her vulnerability as well as an unresolved tension between the search for freedom and the need for belonging.

This dialectic between the masculine and feminine highlights how the two genders may approach partner choices in ways that conflict with their identities. The masculine, represented by Clark, seeks to define boundaries and meanings, while the feminine, represented by the protagonist, is more fluid and centered on emotional experience.

The film does not judge either approach but shows how both can contribute to a confrontation that challenges the individuals involved, leading to greater self-awareness. However, the chat between the woman and her lover sadly illustrates the vulgarity and emotional, sexual, and verbal impoverishment of contemporary social interactions.

The result is a narrative that invites the viewer to reflect on the weight of choices and the complexity of human relationships, showing how the differences between the masculine and feminine can become grounds for mutual growth or insurmountable limits to each other's expectations.

Despite One Night in New York (Daddio) standing out for its narrative format, it remains caught in the conventions of mainstream American cinema. While exploring intimate and psychological dynamics through a minimalist device — a long conversation in a taxi — Christy Hall’s direction never ventures beyond the safe boundaries of emotionally accessible and morally reassuring storytelling.

The dialogue between the protagonists, while incisive and well-acted, seems calibrated to avoid alienating an audience accustomed to a cinema that blends introspection with a gloss of universality. The tension between exploring complex themes — such as the differences between masculine and feminine approaches to life choices — and the need to remain easily digestible is palpable. In this sense, the film lacks the stylistic and thematic radicality characteristic of more experimental or profound works.

Even the use of digital staging, with LED screens simulating the external environment, while technically effective, contributes to a polished and sleek aesthetic typical of contemporary Hollywood cinema. This approach, though visually impeccable, ends up sterilizing some of the raw immediacy the story could have in a more realistic or theatrical context.

The challenge fits into the tradition of balancing introspection with broad accessibility, offering an engaging product but devoid of real narrative or aesthetic risk.

06-Dec-2024 by Beatrice