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Despite the photography and its ingeniousness, the technique simultaneously exposes the film’s biggest shortcoming, which is its seemingly wandering aim at tapping into its story.
While Dina’s life is interesting in its own unique way, the mundanity of it isn’t particularly eye-catching. Surely, there is her autism, Asperger Syndrome to be exact, which raises attention in the film’s first moments; and likewise, Scott, in addition to the rest of her social circle, suffers from some form of the disorder as well.
But “Dina” is not about living with autism. It pretty much takes watching the film’s first half, which is greatly made up of independent vignettes, to get a good sense of what it is about. This is a direct result of the filmmakers simply putting the camera in a corner and letting the subjects’ lives speak for themselves.
(The amount of time spent shooting, sifting through said footage, and then editing to carve out the film’s final narrative had to have been lengthier than normal.)
But there is certainly a mesmeric draw to Dina’s story, which reveals itself significantly towards the end of the film, though won’t be disclosed here. It is highly questionable why the film isn’t more focused around this draw.
More importantly, the film makes no attempt to discuss or show any reform or rehabilitation efforts that stemmed from it.
This would have, at the very least, helped better contextualize the strain in Dina and Scott’s relationship— why Scott is so accommodative and supportive of Dina’s sporadic, and often extreme, bouts of insecurity.
Perhaps there isn’t more physical evidence on the draw than what is displayed in the film. Or maybe Dina and the other parties involved didn’t want to address it directly. In any case, containing the most gripping aspect of Dina’s life challenges the film’s potential of a wider appeal.
Or perhaps a wider appeal is not the point. Like its main subject, “Dina” is quirky, idiosyncratic, comedic and unapologetic in its position on reality. It’s in theaters now.