David Schwimmer tries his hand on direction and comes up with a film laden with strong performances and gravid story-telling. Sure, he made some British comedy as his directorial debut that perhaps even he doesn’t remember anymore; but with Trust Schwimmer genuinely entered the realm of film making.
Trust could have been reduced into another mindless Hollywood production on child-abuse, the subject that with or without its nuances, had been pictured in the recent past so many times that it seems to have redefined the scene of the so-called teen movies. Trust, certainly, a film with subtleties, portraying the insecurities, anhedonia and afflictions of not just the central character played by Liana Liberato to perfection, but also of her parents, her friends and the society that observes her with guilt and ambivalence.
Clive Owen puts in one of his usual robust performances adding a certain flair to the film without which it would have died out to be a shocker without the drama. Clive adds the drama to the flick with more than adequate aid from Liana and together, with a hint of melodrama, they took the film to a different layer.
The ending scene is truly remarkable since it ascertained that the film does not fall in the same trap of dehumanizing the perpetrator as earlier films like The Winter’s bone. For that Schwimmer deserves a special mention.