I’ve written about The Disappearance Of Eleanor Rigby before, but I feel like it’s still one of those diamonds that flew under the radar and no one really saw. This is one of the most important films out there if you are interested in studying grief, the effects of loss, the healing passage of time and enduring love as themes in cinema. Heavy stuff, I know, but the film patiently leads you along and never throws histrionics or melodrama right in your face like some would. James McAvoy and Jessica Chastain give perhaps the performances of their careers as Conor and Eleanor, a couple dealing with the traumatic after effects of a recent miscarriage. Eleanor distances herself from everyone after a suicide attempt that just alienates her further and tries to find a new path, Conor misses her like crazy, throws himself into his work and gets a tad self destructive. Everyone deals with this sort of thing in their own way, and the film uses a nonjudgmental lens to observe how these two cope, revolve around each other and try to salvage the love that seemed brighter and stronger before the incident. ****NOW READ THIS PART VERY CAREFULLY!!**** Now that I’ve got your attention, this is incredibly important: there are in facet three radically different cuts of this film, each with their own sub heading after the title. Her is a feature length cut that focuses primarily on Chastain, her side of the story, and what she goes through, with brief appearances from McAvoy. The other side of that coin is another edit called Him, which does the same for McAvoy, and his side of the whole situation. This is a brilliant, very thoughtful tactic on the filmmaker’s part as it brings us closer to both characters, makes us genuinely feel the time going by through realistic pacing and lets the story flourish in a free flowing way that few films ever achieve. Now the third cut, no doubt assembled under studio duress for the lazy among us, is simply a truncated edit of both of these aforementioned versions, and all it succeeds in doing is making the uniqueness of the other two diminish, dulling the experience and turning something special into a pedestrian telling that’s just like every other flick out there. This third cut is unnecessary, pointless and should be ignored. The vitality of the material lies in the way the two cuts run parallel, how these two souls that were once together are now separated, and the energies we feel between them both together and apart. Others revolve around them too; William Hurt gives a small powerhouse as Eleanor’s loving father, Ciaran Hinds is equally as implosive as Conor’s supportive father, Isabelle Huppert is Eleanor’s mother, Viola Davis is excellent as a stern college professor who helps her through some of the tough times, Bill Hader is Conor’s best friend and business partner, and so on. They’re all wonderful but the core of it lies with the two of them, and their process from hurt, to grief, to losing each other and finding each other again, and it’s a brilliantly told story that you won’t want to miss.