From After Hours to Collateral to HBO’s infamous Taxicab Confessions, the nocturnal cab ride has long been a popular source of inspiration for intimate character studies.  Somehow, filmmakers can find magic and depth in the simplicity of a yellow cab, transforming the mundane into the extraordinary.  You can add writer/director Christy Hall’s Daddio to that list, with her debut feature offering a fresh spin on the tried-and-true formula. Premiering in September 2023 at Telluride and TIFF (where I could not, for the life of me, snag a ticket!), a candid conversation about relationships becomes a riveting exploration of connection touching on damage, power, and honesty.

Girlie (Dakota Johnson, Our Friend) has arrived at JFK and takes the first available taxi back to Manhattan.  Initially, Clark (Sean Penn, Licorice Pizza) seems like your typical chatty cabbie, but as their 99-minute ride unfolds, the conversation veers from the typical to the tough.  Exposing the insecurities in both, but never in a combative or aggressive way, their exchanges are organic, almost theatrical – a nod to the film’s origins, as it was initially prepared as a play.  The transition to the screen is seamless and sensible, thanks to Hall’s pure direction and the vulnerable performances by Johnson and Penn.

Blending elements of the talky conversational ease of Richard Linklater’s Before Sunrise and the one vehicular location of Steven Knight’s Locke, Daddio’s heart lies in its dialogue.  Oscillating between raw honesty and tender reflection, the weight of personal loss is the sweet spot at the center of it all, and it’s where the film truly connects with audiences across all spectrums.  While at first glance, this may seem like a straightforward two-hander, the authenticity of the interactions and the palpable ambiance of an ever-approaching New York skyline make it a uniquely naturalistic encounter.

Originally set to star Daisy Ridley, when the script came to Johnson she pushed for Penn to be cast and her instincts to be paired with the two-time Oscar winner were spot-on.  There’s a perceptive chemistry between the two that works on multiple levels, romantic, parental, friendly, and none of them feel remotely threatening or unjustified despite the brief time they’ve known one another.  That’s a credit to the energy both brought to the table and the undeniable synergy they’ve created.  With Johnson’s word-weariness and Penn’s grizzled curiosity, their relationship is so captivating that you can’t help but want him to make a few wrong turns so their ride goes on a bit longer.

For her first feature, Hall displays confidence behind the camera that mirrors her razor-sharp dialogue.  Her eye for visual storytelling keeps the confined setting from ever feeling limiting, something her previous work in episodic television had to have helped with.  Surprisingly shot mainly on a soundstage over 16 days, it’s her work with Oscar-nominated cinematographer Phedon Papamichael (The Trial of the Chicago 7), who uses clever framing and small perspective shifts, and editor Lisa Zeno Churgin (Peter Pan & Wendy) that keeps the energy propulsive instead of passive.  Dickon Hinchillfe’s dreamy score enhances the atmosphere without taking away from the dialogue or performances.  This is the second Hinchliffe score in a month (after Firebrand) that has caught my ear.

A reminder of the importance of dialogue in film as well as the poignancy in the unexpected connections we make when we least expect it, Daddio is a showcase for multiple talented filmmakers.  Hall establishes herself as a director and screenwriter to watch (her adaptation of Colleen Hoover’s novel It Ends with Us arrives in August), and it is further proof that Johnson’s star ascent is valid and vital.  It should go without saying, but an appearance from Penn is always a reason to perk up.  For those who appreciate the talky drama genre prioritizing character over spectacle, get hip to Daddio.