Nancy, Please

Nancy is all smoke and mirrors.

(2012) Drama (Small Coup) Will Rogers, Eleonore Hendricks, Rebecca Lawrence, Santino Fontana, Novella Nelson, Wally Dunn, Timothy Chastain, Ellis Cahill, Steph Holmbo, Claire Molloy, Elizabeth Ansell, Peter Coleman, Alice Kemelberg, Alex Robles, Alexis Rose, Hilary Shar, Matthew Taylor. Directed by Andrew Semans   

 

It doesn’t take much to annoy most of us. Petty little cruelties can prey on our minds. Most of the time we just brush it off and simply classify the perpetrator as a jerk and move on. Once in awhile however something just captures our brains and we get obsessed by the injustice, determined to exact our measure of triumph out of a situation in which we feel wronged.

Paul (Rogers) is a doctoral candidate at Yale, working on a thesis that follows the description of the English political process described by Charles Dickens in his classic novel Little Dorrit. To that end he has his own hardcover in which he has written notes covering the subject.

Life is actually pretty good for Paul. He’s just moved in with his beautiful girlfriend Jen (Lawrence) who is supporting him while he works on his thesis, which he is finally ready to start writing. However as he’s unpacking, he discovers to his chagrin that the crucial copy of the book has been left behind at his old apartment. Therefore he calls his old roommate Nancy (Hendricks) to see if he can drop by and pick up the book.

Days go by and he hears nothing. He is beginning to get frantic. His best friend Charlie (Fontana), a fellow doctoral candidate, urges him to simply drive over to his apartment and knock on the door. s they do, Paul is certain he glimpses Nancy inside but she doesn’t answer the door. The door turns out to be unlocked but Paul feels awkward about going in so he continues to wait.

The cat and mouse game between Paul and Nancy continues, escalating. Nancy does return his call a couple of times but always when Paul is unavailable. Paul is becoming obsessed, certain that Nancy has some sort of vendetta against him. Jen is becoming irritated because Paul is neglecting to do things around their house that he’d promised to do, forcing Jen who is supporting them to have to take care of things that Paul has more time to deal with.

However Paul is too busy dealing with Nancy to really focus on anything else. His faculty advisor, Dr. Bannister (Nelson) is growing impatient; it has been two years since Paul began his doctoral work and he has shown little or no movement in getting his thesis done. She is threatening to have him removed from the program. Paul’s stress is turning to desperation; he needs that book. So finally after a good deal of prodding from both Charlie and Jen, he decides to go in using a spare key Jen had when she used to come by the apartment to visit him and just get the book himself. This plan turns out to be disastrous.

Humiliated and physically injured, Paul’s paranoia about Nancy is reaching the boiling point. Jen, seeing that things have gone far out of control, finally takes matters into her own hands and in her mind (and in any other reasonable person’s mind) resolves the situation. But in Paul’s mind things are far from over…

This isn’t an easy film to sit through. I think that this is best described as a horror film that is going on only in the lead character’s mind. The innovative thing here is that it’s not actually a horror movie to anyone but Paul. Paul sees Nancy as some sort of cruel monster and she’s a vindictive bitch to be sure but Paul is about as passive a character as you’re likely to meet. He is so aggravating that Da Queen, not normally given to such hyperbole, proclaimed him the biggest pussy in the history of movies. She may have a point.

But so many male indie film leads could be described using that pejorative and you wouldn’t be far wrong and I think that part of the filmmaker’s intent is to satirize the somewhat cliché indie  saw of a passive male lead whose life is resolved either by a strong female presence or through some sort of external motivation. As someone who has seen his life transformed by the love of a good woman, I can’t argue that a man can’t find self-confidence and an improved sense of self-worth through that process. I can say though that it is used far too often in indie films of late.

The focus of the movie is on the antagonists Nancy and Paul and somewhat refreshingly it is more vital for those two to have chemistry than for Paul and Jen to have it and in fact that is the case. Hendricks gives a strong performance in a role that is pretty thankless; Nancy really doesn’t have any reason not to give Paul the book other than to inflict punishment for some sort of transgression – I assume it’s because he had the gall to move out on her. Given her actions it’s not surprising that he’d want to.

Even more thankless is the role of Paul. He’s the nominal “hero” of the piece but he’s far from heroic. In fact, the danger here is that Rogers might be too good in the role – he certainly makes Paul an unlikable lead, to the point where Da Queen really didn’t like this movie once. While my wife and I have nearly identical taste in movies, this is one instance where we disagreed somewhat significantly. I liked the movie precisely for the reason that she didn’t – because the filmmakers have the courage to present a lot of unlikable people in a situation that could easily be resolved but isn’t. Real life is often that way.

Maybe I can see a little bit of myself in Paul. I certainly am the sort who avoids conflicts whenever possible and I tend to let life walk all over me. My ambitions tend to be overridden by my shyness and I tend to need a bit of nagging to get moving on things I know have to get done. However I’m nowhere near as bad as Paul is in that regard – I can self-motivate and even if I do procrastinate on some things they do get done in a timely manner, just not in an instantaneous manner most of the time.

Personal identification aside, I can heartily recommend this movie because it is different and the filmmakers are showing how a simple situation can get complicated in a hurry. I admit that the movie has grown more on me than it did make an immediate positive impression and that may well be the case for you, but if you want to try something outside of the usual kind of movie this is a good place to start.

REASONS TO GO: Love the juxtaposition between the paranoid fantasy going on in Paul’s mind and the mundane reality.

REASONS TO STAY: Possibly one of the most frustratingly passive lead characters ever.

FAMILY VALUES:  There’s some brief violence, adult situations, a bit of sexuality and a modicum of expletives.

TRIVIAL PURSUIT: While the film is set in New Haven, it was mostly filmed in Brooklyn and other New York City locations.

CRITICAL MASS: There have been no reviews published for the film for either Rotten Tomatoes or Metacritic.

COMPARISON SHOPPING: Dark Matter

FINAL RATING: 8/10

NEXT: Be Good and more 2013 Florida Film Festival coverage

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Florida Film Festival 2013

The Florida Film Festival will be returning from April 5 through April 14. As in years past, Cinema365 is proud to cover our local film festival and this year will be bigger and better than any year before, with 173 features and short films taking up screen time. Voted one of the 50 best film festivals in the world, it’s different than the industry shmoozefests that are Sundance, Tribeca and TIFF. Those are places where filmmakers go to make a deal. FFF is where they go to mingle with the audience. There is an intimate feel that is missing from some film festivals where there is so much going on that you’re exhausted from day one. There is a more leisurely pace here but even so by the 14th you may well be reaching your limit.

The guest of honor this year is legendary Hollywood actress Tippi Hedren who will be honored with a screening of her classic film The Birds. She’ll be on hand to answer qustions, some of which hopefully will be about her new film Free Samples which will also be playing at the festival. These events always sell out so you won’t want to wait too long before getting your ticket. Also attending the festival will be renowned stuntwoman/actress Zoe Bell who will be on hand for a screening of Deathproof, the Quentin Tarantino-directed half of Grindhouse.  She’s done some of the most amazing stunts of the past decade so you won’t want to miss that either. Finally for those of a more romantic bent, the Festival will have Sunday brunch on the 14th with a screening of one of my all-time favorites The Princess Bride with star Cary Elwes in attendence. This promises to be an unforgettable event and, like the other celebrity appearances, is likely to sell out early.

But a film festival is all about, well, films and as usual there are a plethora of exciting entries at this year’s festival. While I’m not going to preview them all here, I will give you some films that I think are worth looking out for. The opening night slot is always a big deal at any film festival and the FFF is no different. This year the honor goes to Twenty Feet from Stardom, an acclaimed documentary that drew raves at Sundance earlier this year. For those who love classic rock and roll, the film focuses on the backup singers who share the stage and recording studio with some of the biggest stars and on the biggest hits of all time. It’s an amazing get up and dance kind of movie that is bound to have opening nighters boogaloo-ing in the aisles. Opening night is another event that sells out early so you’ll want to order your ticets as soon as you can.

Unfinished Song stars Terrence Stamp and Vanessa Redgrave in a film that reminds me a little bit of Young @ Heart, about a grumpy senior whose life is transformed by singing in a chorus. Lore takes place at the end of World War II in occupied Germany when a group of children whose parents were arrested as Nazis try to make their way across the country to their grandmother’s. Renoir is the story of the love triangle between the great Impressionist, his son and his model slash muse. It looks achingly beautiful. Mud stars Matthew McConaughey , Reese Witherspoon and Sam Shepard in a thriller about a couple of kids who befriend a man on the run from the law, who is haunted by the woman who may have inspired him to do wrong.

V/H/S 2 is the sequel to the hit indie horror anthology and should be packing them in at midnight showings. So too should Cockneys vs. Zombies, a East End-set zombie flick that looks to be a worthy successor to Shaun of the Dead with a wicked sense of humor that had preview audiences laughing til they screamed. Starbuck is a French-Canadian film about a man who is ready to be a father of his girlfriend’s child although she is none too certain about his paternal skills. Matters aren’t helped when it is discovered that as a repeated sperm donor back in the day he had wound up fathering over 500 children. I’m sure his tie collection will be legendary.

SOMM is a food documentary chronicling the difficult process of becoming certified as a master sommelier. In the music realm Big Star: Nothing Can Hurt Me and AKA Doc Pomus look back at legendary figures in classic rock and roll while Bad Brains: A Band in DC looks at one of the most influential punk bands of all time.

The narrative competition films have some real promising entries this year, with The Forgotten Kingdom following a young man’s journey to reconnect with his family in Leostho, Putzel which is a different kind of romantic comedy (I know a lot of rom-coms claim that but this one really looks like the real deal), The History of Future Folk which has the daft premise of an alien invasion which goes awry when the aliens decide to become folksingers, All the Light in the Sky in the meantime follows an aging actress who is watching her indie career dwindle as younger actresses nab the roles that once went to her. Nancy, Please is a terrifying thriller about the roommate from Hell who goes to extreme lengths to reclaim the book she left behind and Be Good which observes new parents adopting to their changing roles.

The documentary competition is equally impressive with Year of the Living Dead which looks back on the lasting impact of George A. Romero’s legendary Night of the Living Dead while Magical Universe explores the bizaare world of artist Al Carbee’s Barbie-centric art. Shepard and Dark explores the unique and moving friendship (mostly expressed through correspondence) between actor/playwright Sam Shepard and Johnny Dark who was at one time married to the mother of Shepard’s wife. Informant traces the path of Brandon Darby from respected activist to FBI informant while Far Out Isn’t Far Enough: The Tomi Ungerer Story traces the career of revolutionary children’s book illustrator Tomi Ungerer.

And that’s just scratching the surface. Films like 8 1/2, Sleeper, The Sting and Pulp Fiction will also be screened as well as a plethora of foreign films, short films, documentaries, narrative features, family films and animated shorts. Individual tickets will go on sale on March 17th (this Sunday) although you can still buy passes and packages of five, ten and twenty vouchers which can be redeemed for individual films right now. For more details on the festival, ticket purchase information and directions to the festival venues, click on the logo above which will take you right to the Festival website. That same logo will appear on all festival film reviews even after the festival is over.

It should be noted that nearly every year since I started attending this event my number one movie on the year-end countdown has played at the Festival. Some of the films that have played here have gone on to commercial success (The Blair Witch Project) or Oscar nominations (Winter’s Bone). While there are no guarantees, I can tell you that this is one of the best-curated festivals that I’m aware of and the overall quality of the films that play it are nothing short of spectacular.

Enzian president Henry Maldonado liked the Festival to a gathering of friends, not unlike a reunion and he’s right. The atmosphere at the Festival is like none other I’ve experienced. Part of that is due to the bucolic scenery at the Enzian itself (although the atmosphere at the neighboring Regal multiplex in Winter Park Village where many of the screenings take place is no less idyllic) but most of the credit goes to the staff, volunteers and the attendees themselves. This is the kind of thing that loses something in the translation but once experienced for yourself will hook you for life. Even if I were to move out of the Orlando area, I’d come back every year for the FFF. I hope I’ll see some of my Orlando-area readers at the Festival; those who can travel to come see it should make the effort to do so. This is no theme park but if you’re a movie buff, this is so much better.