CHA CHA REAL SMOOTH (SXSW 2022)

March 23, 2022

SXSW 2022

Greetings again from the darkness. It seems society has reached a point where most of us are at least a bit skeptical of someone being nice. We assume there is an ulterior motive for acts of altruism. Writer-director-actor Cooper Raiff won a SXSW award for his first feature film (a title I can’t print here), and he follows that up with this feel-good dramedy that may very well inspire us to have a bit more faith in humanity … well at least some of humanity.

When we first meet Andrew (Mr. Raiff), he’s attending the Bar Mitzvah of a classmate, and finds himself attracted to Bella (Kelly O’Sullivan, who was so good in SAINT FRANCIS, 2019), the older ‘party starter’. What really hits home with Andrew is how Bella takes an obviously unsettling phone call in the stairwell before flipping her smile back on and returning to her hosting duties. We then jump ahead 10 years, and Andrew has just graduated college. His girlfriend heads off to Barcelona while he moves back in with his mother Leslie Mann) and stepdad (Brad Garrett), sleeping on a blow-up mattress in his younger brother David’s (Evan Assante) room. As he contemplates his next step in life, Andrew works the counter at ‘Meat Sticks’, a shopping mall based fast food stop that forces him to wear a royal blue vest and bright red visor. Talk about motivation for transitioning into adulting.

This ties back into the early scene of young Andrew because when he accompanies David to a Bar Mitzvah, Andrew is attracted to the beauty Domino (Dakota Johnson), mother of autistic Lola (Vanessa Burghardt). We watch as Andrew’s charm convinces to Lola to dance for the first time, a friendly gesture that intrigues her mother. Things change quickly for Andrew. Other Jewish moms take note of Andrew and hire him as a ‘party starter’, Domino hires Andrew to periodically babysit Lola, David starts eliciting romance advice from big brother, and Domino and Andrew begin their “will they or won’t they” flirtations.

Of course, things aren’t as simple or rosy as they might seem. Domino has a lawyer fiancé (Raul Castillo), and she’s burdened with emotional pain that she barely acknowledges – though she does admit to Andrew that she struggles with depression. There are also mental health issues associated with Andrew’s mother, and we infer that plays an important part in his own makeup and desire to help others. It turns out Andrew and Domino are both defined (perhaps burdened) by their need to help others, while ignoring their own well-being. Neither are saints, as both have flaws. An engaged Domino battles her urges with Andrew, while he drinks too much, has a jealous streak, and snaps at loved ones when upset.

Filmmaker Raiff benefits from a terrific and fully engaged performance from Ms. Dakota. Raiff himself is not a polished actor, but this is an advantage for his role as Andrew – a young man drifting at a time he should be focused. The film takes a sincere approach to characters we know. The cringe-factor rarely, if ever, pops up. The most cynical might find it saccharine, but most will appreciate the sweetness Andrew displays as he fumbles around with what love means. He may be somewhat goofy, but he’s also good-hearted, and enjoys making a difference and helping others. Raiff’s film may be as eager to please as its protagonist, yet that’s not such a bad thing.  And yes, the “Cha Cha Slide” does feature in a dance scene, so the film’s title isn’t totally off the wall (but almost).


SAINT FRANCES (2020)

March 17, 2020

 Greetings again from the darkness. The old saying goes, “Fake it till you make it.” Well when it comes to life and adulting, no one ever really makes it. Everyone has their doubts and troubles and challenges. And by everyone, this means every single person, regardless of whether you think they have it all figured out. This is the first feature film for director Alex Thompson and the first feature length screenplay from Kelly O’Sullivan, who is also the lead actress here. The script is so smart and intimate that we tend to believe she included at least some of her own experiences. Either way, this is superb independent filmmaking … the type usually reserved for festival runs.

Ms. O’Sullivan plays Bridget, a 34 year old “server” who seems cloaked in a type of sadness or melancholy that elicits first disinterest, and then attraction from the two guys we see her meet at a party. Once a promising writer, Bridget’s life has started to slip away. As often happens when things aren’t going well, life gets more complicated for Bridget. Her casual relationship (“This is NOT a relationship!”) with uber-nice guy Jace (Max Lipchitz) leads to an unwanted pregnancy, followed by an abortion. Jace is very supportive during the process, and seems to be a wonderful guy. Rather than giving him a split personality with an evil side, the film allows Jace to be Jace, while Bridget treats him as a convenience (can you say turned tables?).

Bridget soon takes on her first ever nanny job, even though it’s pretty clear she is clueless when it comes to caring for kids. Her “job” is rambunctious and whip-smart 6 year old Frances (Ramona Edith Williams), daughter of mixed race lesbian couple Marin (Charin Alvarez) and Annie (Lily Mojekwu). Marin recently gave birth and is suffering from postpartum depression, while Annie is a stressed-out attorney. In other words, they are all a mess. What stands out here, and throughout the movie, is that these characters all seem like real people … folks we could know. That’s why we immediately click with the story and the characters, especially Bridget and Frances.

There are times the film gives off the vibe of a feminist handbook, as it touches on modern world dating and sex, depression, sexual orientation, contemporary societal standards, the conflicting role of religion, and the challenges faced both professionally and personally in a world that is slow to accept the new normal. Despite that, the film never loses focus on what makes it work … the budding relationship between Bridget and Frances, and the forces at work around them (including Joan Jett and a fulsome music teacher/poet played by Jim True-Frost).

One of the more impactful moments occurs when Bridget’s mother (Mary Beth Fisher) is recollecting an emotion she experienced when Bridget was a baby. It’s a terrifying and honest moment that most movies wouldn’t touch. Kelly O’Sullivan wrote a terrific script, but it’s her performance that sticks with you. She reminded me of Brie Larson in SHORT TERM 12 in that the character seems so real … so authentic. There is also a lesson here in that our lives can be impacted by anyone we meet – even a precocious 6 year old.

watch the trailer: