“OBVIOUS CHILD” ***
Who isn’t afraid of loneliness? Who can deny the strength of the uncontrollable feeling known as love which we don’t really understand about? How can one endure the unbearable pain of a broken heart? Everyone is trying to accomplish their goals, running after a career, a wealthy lifestyle, prosperity and paid vacations, but in the bottom, the most essential aspect in existence, in order to survive and move on with the journey, is undoubtedly the companionship, the soul mate everyone longs for, becoming the most natural and complicated part of all. These are the questions haunting a wise young woman in Brooklyn who sees her world falling apart when she can’t face the harsh pain of undesired love. At first the film introduces the protagonist, performing stand-up comedy in a small lounge, and how she sarcastically reacts to everything around her. Her boyfriend approaches her after the show, and she wasn’t expecting to hear the news: he’s leaving her for somebody else. Now the joke seems to return to herself, as she develops a bitter and dark humor revealed through her perspectives on the ‘tragedy’. Certain of her motives, she surrenders to low self-esteem, which modern society calls “depression”, looking for shelter and comprehension on the arms of her friends, other comedians, agents, and her parents. In one of these occasions, she gets wasted and ends up sleeping with a stranger, and a few weeks after that night which she recalls “seeing a condom but not remembering what part did it play on it”, she finds out her pregnancy. Determined to go on with the plan of abortion, things start getting a different shape, and other characters come her way, creating a hilarious and unpredictable atmosphere. Making her debut with a feature film, writer-director Gillian Robespierre proves complete coordination with the material, developing a creative aesthetic with everything independent filmmaking allows her to, and the modern structure of a tale about love, loneliness, failure and insecurities haunting the new generation. The presence of the eccentric supporting roles also helps and elevates the irreverence of the narrative, depicting important issues with an irresistible sarcasm, such as a friend whom she spends the night with discussing how bad they get when dumped, the secrets revealed by her mother, and her closest friend who pushes her for the best. Jenny Slate is fantastic as Donna Stern, the young woman trying to figure out how to survive the days ahead. And as she faces the realities of womanhood, setting herself independent, she learns how to overcome her fears, proving that amidst so many things to be conquered, love is still the most important accomplishment and the most desired treasure.
“JERSEY BOYS” ***
Directed by Master Clint Eastwood, this adaption on the life of singer Frankie Valli and the Four Seasons is a coherent experience into the musicals. Elegant, suspenseful and supported by a fine cast, Eastwood seems to make a nostalgic love letter to the 60’s with his sensibility and precision. He also finds a way of discussing family values, faith and compassion through the dangerous story of young Jersey boys engaged in small crimes and determined to reach stardom with their musical talents. Not a great film, but it deserves all respect for the powerful commanding of one of America’s finest names in the industry.
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