Ethan Coen’s Drive-Away Dolls: A Sapphic Tribute to B-Movies and His Marital Bond

The sixties and seventies were surely the peak of creative freedom that American cinema has ever experienced. Hippies took control of the studios, influenced by directors who were anything but conventional. Russ Meyer is one of those names that might not top the list, perhaps because he explored the realm of sexploitation… But his influence still lingers today.

His campy style is evident in certain aspects of Waters’ films or Paul Thomas Anderson’s work… But Tarantino went further: Death Proof is a direct homage to Faster, Pussycat! Kill! Kill! Similarly, Drive-Away Dolls, the solo debut of the legendary Ethan Coen (alongside Tricia Cooke, his queer wife and editor of many Coen Brothers’ hits, who co-directs though uncredited), is a way of embracing the legacy of this controversial filmmaker.

The film delves into their romantic relationship and the way these two sensibilities connect. Their understanding of love is unconventional, but the movie makes an effort to help audiences relate, all while keeping a comedic tone and without trying to sell anything. It was about time for someone to explore these types of stories while steering clear of any dramatic mannerisms.

Comedy is at the heart of this film, with some gags that are predictable and familiar alongside others that truly provoke laughter. It’s all wrapped up in a wildly absurd thriller plot, a true trademark of the director. The film balances two storylines that fit and complement each other perfectly, making it feel like a breath of fresh air in a world that seems to take itself more seriously every day.

This film also stands out as an unexpected portrayal of non-normative relationships, evolving into a political satire. This blend gives the film a distinct personality, though it’s not as clever or creative as it aims to be. The biggest drawback is that you can’t help but feel the material could be more refined… which is surprising, considering the couple has mentioned that they’ve been working on this project for years and have struggled to bring it to life.

The story follows the journey of two lesbian friends on a road trip to a town in Florida. However, they unknowingly rent a car with sensitive content hidden in the trunk, turning their trip into a chase, as others are after what’s in the car, though they have no idea.

This is the first installment of what’s planned as a lesbian trilogy, paying homage to B-movies, starting with this cameo-filled production. It’s an unabashedly sexual piece, though other elements are somewhat neglected. The plot is straightforward without major inconsistencies, but the direction lacks comedic verve, making this attempt as admirable as it is flawed.

Set in 1999, the film has a spirit of sexual freedom more typical of earlier decades, with some symbolic psychedelic touches that feel somewhat arbitrary, as they add little to the plot or overall impact. Ethan Coen’s direction offers an absurdist portrayal of rural America and its most eccentric characters. You can see his style and unique flair, yet ultimately, it feels like it’s missing what his brother would bring… which is also noticeable in Joel’s solo films.

Drive-Away Dolls does bring together an excellent cast that does its best to elevate the final result. Margaret Qualley once again shows her comedic talent, accompanied by a very charismatic Geraldine Viswanathan and an always energetic Beanie Feldstein. Colman Domingo brings his usual gravitas, though with a surprising twist for this versatile actor. The rest of the cameos are best left for you to discover on your own.

Drive-Away Dolls is as intentionally provocative as it is harmless in reality. But it’s hard to say it isn’t enjoyable, especially when you consider that its only aim seems to be to let you have a good time. And I’d be lying if I said it didn’t succeed.