THE STORY – At a writer’s retreat in Morocco, sparks fly between a woman who’s an accomplished writer and young man who works in finance, leading to a life-changing relationship.
THE CAST – Laura Dern, Liam Hemsworth, Diana Silvers, Younes Boucif, Adriano Giannini, Rachida Brakni, Shosha Goren & Heeba Shah
THE TEAM – Susannah Grant (Director/Writer)
THE RUNNING TIM – 96 minutes
To perhaps no one’s surprise this fall, another Netflix original set in an exotic location has been released. The title, “Lonely Planet,” might throw its audience for a loop, making you think of a National Geographic-like nature program. Instead, the streamer’s latest original film stars Laura Dern and Liam Hemsworth in an unlikely romance set in the stunning locale of Marrakech, Morocco. Written and directed by Susannah Grant, the film takes its time to introduce the main characters and their experiences. However, when it comes to their relationship, it doesn’t have the intended emotional impact. Like last year’s “May December,” or this year’s forthcoming “Babygirl,” and the already-released “The Idea of You,” Grant’s film is once again centered on an older woman who gets romantically involved with a much younger man. Yet, unlike Netflix’s “May December,” “Lonely Planet” fails to stand out from the pack despite its beautiful surroundings.
“Lonely Planet” begins with Katherine (Dern), a mid-career writer struggling to meet a looming deadline, finding herself at a sort of crossroads in her personal life. Recently, she separated from her longtime partner and, as a result, was kicked out of her house. She goes to a writer’s retreat in Morocco. She also loses her luggage, which is only the beginning of her misfortunes, as she struggles to find a quiet, comfortable place to work, and her seemingly lovely space doesn’t have water. Her introverted personality reliably contrasts with that of Owen (Hemsworth), a finance guy who has accompanied his girlfriend, Lily (Diana Silvers) – an up-and-coming writer – to the same retreat. Owen is charming yet out of place among the most artistically-minded crowd; unsurprisingly, he spends much of his time on the phone for work. From their first meeting, Owen is overly friendly with Katharine, though at first, she makes it clear she isn’t interested and would instead prefer to be left to her own devices. Of course, this dynamic shifts when minor car trouble pushes the two closer, offering moments of forced intimacy. But despite the film’s title, neither character comes across as truly lonely; rather, they’re more like two people caught in the wrong place at the right time, which, admittedly, fits the “out of place” vibe to which the movie often returns.
Grant’s script is sprinkled with moments of miscommunication that are probably meant to add tension and humor, though they can often feel forced. In addition, instead of opting for more subtle scenes, the dialogue frequently spells out the characters’ feelings. It also doesn’t help that the slow-building romance between Katherine and Owen is hardly convincing, despite the admirable efforts of both Dern and Hemsworth. Their connection feels circumstantial at best, lacking the depth or chemistry needed to make you root for them as a couple. The chemistry between the 57-year-old Oscar winner and the 34-year-old former “Hunger Games” star is…fine. Had the relationship between their characters been rushed, it would have been much more believable. When Hemsworth stares at Dern with admiration, it’s hard not to be reeled in by that classically handsome Hemsworth brother smile. That said, Owen being caught between his new, budding relationship with Katherine and his current one with Lily is hardly revelatory. Owen seems more bored than in a crisis, and it’s easy to understand and empathize more with Katherine; that’s obviously what you get with an Oscar-winning actress, but Grant is seemingly more interested in Katherine than in Owen. And yet, her arc isn’t wholly satisfying.
Pinar Toprak’s score is fitting and uses culturally appropriate music to enhance the setting. Additionally, Ben Smithard’s cinematography makes the most of the stunning Moroccan landscapes. There are certainly moments — like the close-ups of food, scenes of traditional Moroccan culture, or the playful line “I think you’re extremely bearable” — that hint at a more compelling story underneath the surface, but the film rarely dives deep enough to take advantage of them. “Lonely Planet” tries to offer a unique mixture of romance, personal rediscovery, and the charm of an exotic locale, but it struggles to balance these elements. The title suggests a sense of isolation or longing, yet both main characters seem more inconvenienced than truly lost or lonely. However, to the film’s credit, it portrays a writer’s retreat in an interesting, specific way, with fun glimpses into the creative process and the artistic egos that can populate such spaces. Lily, whose first novel was an overnight success, serves as a reminder of the pressures writers face, though her role in the film remains underdeveloped.
Overall, “Lonely Planet” is a visually pleasing film that offers moments of charm to keep you engaged, but the romantic arc feels half-baked, and the supposedly shocking or surprising twists do not land at all. The beautiful setting and Toprak’s lush score do much of the heavy lifting, leaving the central love story feeling more like a diversion than the heart of the film. It is a perfectly forgettable romantic dramedy that happens to take place in (and was filmed in) an exotic locale.