WATCH THE TRAILER HERE
First, the Recap:
What does it take to realize who we are and can become in the face of adversity? How do we tap into that place within that allows us to experience the healing in times of strife, when all seems hopeless, and we feel like doing nothing but giving up? When does that moment arrive that truly shakes us free and inspires? A man named Philip (Philip Oros) has been introduced to his company-provided apartment for an upcoming project, with only himself and an electronic keyboard as a companion. Longing for his girlfriend back home, his intentions to surprise her upon his return with an original song get abruptly upended, as both an interrupted creative flow and another unanticipated obstacle cloud his path. Yet, the music he hears emanating from the apartment next door becomes an equally unforeseen ally–and a potential balm.
Next, my Mind:
The power of inspiration, the motivation of desperation, the potency of empathy, and the healing force that is music all get center stage through this newest indie short film effort from Swedish writer/director/producer Jimmy Olsson who, as with his previous and no less excellent effort “Alive“, once more taps into the human experience with a relatable, grounded believability that echoes throughout the entirety of this offering’s twenty-minute runtime. It speaks volumes for this critic to that ever-present and ever-consistent actuality that indie filmmakers as a whole so deftly take stock in to present narratives that delve into these necessary thematic explorations which we can then view and find truth and significance in, applicable to our own existence, and transcending mere entertainment for a more tangibly impactful message that always seems to be so overtly timely in its delivery, especially in this world’s current state of social chaos.
No exception to this is found through the story that finds one man’s personal journey taking on a twist he never sees coming as he seeks to create something special for a special someone, only to get an aggravating form of “writers block” while doing so, then having a proverbial punch to the gut add further emotionally unsettled volatility to the situation. Yet, at the heights of this upheaval, there’s a constant factor which enters his realm of thinking that starts to work on his plight in slowly unfolding ways, becoming both a boon and a burden, causing him to make decisions to reach out and retreat within himself, all in an attempt to initiate some kind of resolution to the circumstances in play. What I personally appreciate about this stirring dichotomy being portrayed is that it reinforces the aforementioned credibility the story’s intent, allowing us to find that place of understanding and acknowledgement that real life is not always “perfect” (even though we all wish it was, granted), as opposed to sometimes overly “saccharine” depictions we see.
It’s not that there’s ANYTHING wrong with wishing to stay positive and offer a statement that pushes that, but more so it makes that ultimate gain much more feasible and compellingly strong when executed like it is here, as by the time the film’s absolutely heartstring-tugging finale is reached, there’s an undeniably plausible, powerful, transformational, tear-inducing level of dramatic impact. Plus, again for this critic anyway, the sway of music and how it touches us is beautifully utilized here. But, the additional cleverness revealed is the fact that while this may seem like what the film’s title implies, this cornerstone concept of notes and what they can accomplish has dual meaning over the course of the story, and I totally loved that aspect of Olsson’s design here, as it built onto the grander ideas shown, even if the musical context remained the primary catalyst to the lead character’s path to needed healing.
Oros provides us with the kind of performance that I always look for in the arena of indie cinema, which is to see a character that comes across as an “everyman” while navigating the purposeful nuances and emotively-driven tangents the given story entails, and he does so here via his role as Philip, a man arriving to a plain jane apartment rented by his company for him to engage in a current project they have him involved with. With his only company being his electronic keyboard, the calls to his beloved offer what little connection and internal solace he longs for. Choosing to compose a musical piece to surprise his beau when returning home, pitfalls occur that throw him into an initially subtle then more blatantly frustrated state of being. Yet, the peace-inducing tones he hears from the apartment next door ushers in curiosity and a need for an internal closure and finality that ends up being even more soothing and affecting than he could ever see or hope for thanks to the compassion of a total stranger. It’s a wonderful exercise in understatement (another staple of indie films that I love) combined with instances of pure fiery resolve, and Oros displays all of this through his work with utter heart and determination you really feel.
The pivotal primary supporting turn arrives from Richard Sseruwagi as Philip’s enigmatic and (almost) completely unseen neighbor whose sonorous creations make more than their fair share of effective, gripping moments for Philip’s wounded soul to grasp onto in a deep time of need, only made even more poignant during the film’s final act and literal last scene that cements the pair’s connected tale that showcases the dominating capacity of what human connection and genuine concern, compassion, kindness, and warmth brings about. Additional appearances are made by Moa Silén as the apartment agent and the via voice only presence of Alexandra Ohrnvall as Philip’s beau. In total, “Notes” is another unequivocal winner from Olsson and a further testament to the wonder of indie cinema and its ability to transport us into fictional realities that still so deftly reflect our actual lives and the factors that influence daily existence. One hopes films like this give us the incentive to seek selflessness and sympathy towards those we know and those we don’t, as this is so deeply needed and sorely missed in our currently stormy world.
As always, this is all for your consideration and comment. Until next time, thank for reading!
