by Liana Imam
I saw Wendy and Lucy this past April, and there wasn’t any sound for the first ten minutes. Well, not no sound; there were the suggestions of breathing, some ambient rustling. The whispers filling the theater were mainly curious—could this be some new super-indie technique, perfected by director Kelly Reichardt for her second film? It turned out to be a technical mistake, and I found out what I missed when I read Jon Raymond’s “Train Choir,” the closing piece in his first collection, Livability, and the story on which Reichardt’s film is based.