It's the fall of 1985. The intertwining tales of three 5th grade friends, Chris, Joe and Ted, unfold in the suburban paradise of Palo Alto, as the threat of a mountain lion looms over the community.
Franco gives one of his most subtle performances yet as a recovering-alcoholic father, and the three young newcomers’ performances are honest and affecting, capturing what it feels like to be adrift and on the verge of adolescence.
Yosemite is a contemplative drama, low-key perhaps to a fault. But Demeestere shows acute sensitivity in her understanding of boys and their growing awareness of the world, with its real and imagined menaces.
Resolutely unshowy, sometimes almost too lower-case in its observations, Yosemite pays off in an authenticity that pervades both individual scene rhythms and performances.
70
Village Voice
Alan Scherstuhl
Like Gia Coppola's Palo Alto (2013), a lyric and biting evocation of contemporary well-to-do teendom, Gabrielle Demeestere's Yosemite mines Franco's fiction for its most vital quality: his unsentimental depiction of youthful insecurity, this time among fifth-graders.