Trying to describe Two Cars, One Night without getting schmaltzy might be difficult. It’s sublime, gentle, tender, funny, brilliant, inspired, exceptional. Director Waititi’s just as phenomenal directing his young actors as he is at composing the shots to emphasize their experiences; specifically, how they perceive those experiences. The short starts with these two boys sitting in a car in front of a bar. They’re presumably waiting for a parent or two to get done hanging out in the bar. The little brother, Te Ahiwaru Ngamoki-Richards, is quietly reading a book in the passenger seat. The older brother, Rangi Ngamoki, is sitting behind the wheel and watching the adults outside the car.
Waititi does an amazing job subtly implying all these things going on around the boys, which they know are going on but don’t exactly understand. They also don’t understand they don’t exactly understand. Waititi sets up all these known unknowns before there’s the second car. Because amid this situation, where the boys are waiting outside a bar, in this isolated island surrounded by adults adulting, Waikato is going to unknowingly take the first steps towards adulthood.
And here’s why it’s hard to talk about the short without getting schmaltzy. While Waititi avoids sentimentality and instead focuses on his actors and how they convey the action, Two Cars, One Night is about Waikato teasing a girl, Rangi Ngamoki—who arrives in the second car, her parents also going in for drinks (there’s a whole other silent, subtle implication thing regarding the parents who come out first)—but it’s about these two adorable kids flirting. They go from tween and pre-tween (Ngamoki is nine, Waikato is twelve) fighting and teasing to—again—understanding their similar situations on a deeper level than they’re able to consciously recognize. Waititi’s real quiet about it too; he focuses on Ngamoki realizing he wants to talk to Waikato and not really understanding why. Because he’s nine. And she goes from being a grody girl to being worth trying to impress.
Little brother Ngamoki-Richards proves an intentionally bad, more intelligent and thoughtful, hilarious wingman.
Perfect performances from Waikato and Ngamoki. Waititi’s direction, on all levels, just gets more and more impressive throughout. The black and white photography, from Adam Clark, is great. So’s Owen Ferrier-Kerr’s editing. Both Clark and Ferrier-Kerr’s fine work contributes to the sublimeness.