Neverlost (Fantasia Fest 2010)

Chad Archibald's new Canadian film Neverlost reminded me of the Coen Brother's Blood Simple. There's a low budget, tight dialogue, scenes that would have moderately benefited from additional takes, and a deadpan cast committed to promoting and solidifying its aesthetic. I was immediately struck by the direct nature of the opening narrative which sees Josh Higgins (Ryan Barrett) presenting his daily thoughts. The thoughts are presented frankly with candour and this device can work successfully or ruin a potentially prolific film. As it unreeled, there were times where I thought things were somewhat to simple, somewhat overt. But as it continued I became enraptured by its cohesive uniform writing and direction which successfully harmonize two diametrically opposed narratives into an entertaining, thought provoking synthesis. It continues to improve as time passes and its provocatively ironic ending aptly complements the ambiguous dexterity competently utilized to compose Josh and Megan (Jennifer Polansky) (is Megan a bitch or is her caustic temperament justified due to Josh's lacklustre work ethic?) (it's tough to take sides with either of the principle real world characters which is a coherent sign of prominent writing). I hope Neverlost receives mainstream distribution in Canada (and the United States) because we really need to give more commercial credit to our homegrown cinematic talent (they do it in Québec, why can't they do it in English Canada?). A frenetic destabilized yet congruous analysis of love, marriage, fantasies, dreams, Neverlost demonstrates that sometimes there is no solution while highlighting the detrimental effects of escapism. Shot in Guelph, Ontario.

L'Âge des Ténèbres

There you have it. You're 29. You don't have a job. You're in school hoping you will find a job when your program is finished, but, more importantly, hoping you do not end up as despondent as Jean-Marc Leblanc (Marc Labrèche) in Denys Arcand's new film L'Âge des Ténèbres (after having found that job in the years to come). Jean-Marc has grown tired of existence, of being married to the top third realtor in the country, of his children, of his government job (where he can’t help people solve their problems), every day, amidst Feng Shui interventions, language hearings, motivational speakers, hard times for being late after an hour and a half commute: and his mother is dying. Things are pretty bleak, and, rather than doing anything about it, he's escaped into dreamland, wonderful daydreams, distracting daydreams, where he is emperor, writing famous novels, appearing on television, randy, promiscuous. But his ennui's so intense he can't even daydream successfully and his banal reality cripples his reveries as well. Very sad. Very pessimistic. Also, occasionally funny.

Arcand's film is dense and scathing. "We can characterize our times with one word: disintegration." "We have no answers for you. Your lives are to complicated, the situation to complex." The cynicism that dominates much of L'Âge des Ténèbres criticizes government departments, health care provision, the nuclear family, public school, municipal by-laws, bureaucratic strategies, linguistic authorities, road rage . . . It's difficult to know whether or not the focus is ironic, poking fun at 'gloom and doom' "this is what's wrong with society" people, genuine, trying to instigate political change, intentionally bleak, allegorically accentuating the realities of Leblanc's castrated lifestyle, or a synthesis of the previously mentioned options, spiraling and reverberating within a tragic, comedic vortex. The commoner must face the realities of his boast. The main purpose of a bureaucracy is to ensure its continuing survival. Is 'genuine' communication forged by a union of souls or a random physical action?

The film's complex, presenting unsettling realities in a fantastic frame. But what political system isn't overrun with legal inconsistencies and bureaucratic redundancy, and how does one go about addressing these issues in a practical manner (which is perhaps the principle point)? Nevertheless, L'Âge des Ténèbres presents insightful observations concerning complex social, ethical and political paradigms, competently portraying a convoluted cultural mosaic with delicate vulgarity and humourous solemnity.

What happens after Leblanc's wife takes off for Toronto is impressive. The lines uttered by Leblanc's co-workers are impressive. The film’s impressive. Even if it's a bit overwrought, the multi-dimensional remainder of L'Âge des Ténèbres illuminates the brightest intellectual darkness I've seen in a while, reminiscent of Five Easy Pieces, Falling Down, American Beauty and Billy Liar, ironically titled, considering its impact.