WATCH THE TRAILER HERE
First, the Recap:
We’ve heard the phrase “Like ships passing in the night”. While normally this is attributed to encounters between two people that are brief, highly intense, and then their paths never cross again, how many times can it seem LIKE this when in an existing relationship is under similarly potent pressure? The efforts put forth to see things work suddenly appear one-sided, even if not true, and the growing sense of discontent begins to dominate, replacing the loving connection originally being experienced. Overcome? Or fall further down? Rey (Fedra Ramírez Olivares) is exhausted, mentally and otherwise, from her job as a chef that’s taken over her existence, putting the love she shares with aspiring painter Elle (Kaileela Hobby) under strained scrutiny. It very quickly becomes a question of whether they can find their way back to how things should be–or otherwise be swallowed up in a slowly dissolving partnership.
Next, my Mind:
A proverbial ripping apart of the tapestry that is life and all it contains when it comes to harboring within us the deep, abiding, heartfelt force known as love for another that’s been blatantly interrupted by the loss of true connection in the face of career and its demanded yields for success forms the primary focus of this 9-minute short film effort from writer/director/producer/editor Hillia Aho that will have its World Premiere debut in-person screening at the 2023 Tribeca Film Festival June 10th followed by additional screenings June 11th and 17th before moving to online streaming availability through the Festival site June 19th-July 2nd. It’s the rawness and unflinching nature of all-encompassing adoration confronting more than just a bump in the road, but rather a potentially questioned future that provides the backdrop for an affecting glimpse into all that we hold onto, all we lose sight of, and a testing of what we are willing to do to regain happiness–or let it go for good.
In the context of this narrative, which finds partners Rey and Elle at a disheartening relational impasse as their respective job pursuits which put all emphasis on output to an extent of totally overlooking actual personal interaction that has any meaning, begins to take its unrelenting toll on their now fragile bond, with building frictions and exasperation all too evidently threatening to destroy what bought them together in the first place. The relevancy of this foundational theme is, sadly, very apropos to explore, as there would (likewise sadly) be many out there in this world that can directly relate to the scenario being conveyed when we reside in a world that pushes for results, results, results regardless of the cost being paid by far too many people and relationships in the process. While, as perhaps hinted at above, there ARE choices involved here, but it doesn’t negate or invalidate the realities of a society that places such weight upon us in this manner when it’s not remotely necessary or healthy to do so.
It’s ok to work hard, but there’s no room for interpersonal unions to be torn asunder for the sake of it either. But it IS also shown how we might attempt to ESCAPE into what we do rather than FACE what needs to be mended. Love takes work, it takes that commitment for the long haul, a willingness TO sometimes put aside our own desires and even dreams for the possibilities of not just supporting our partner, but seeing THEM excel instead or, ideally, alongside us. This film so beautifully and persuasively portrays both ends of the spectrum in unflinchingly showcasing, by both direct and conjectural means, the simmering unease of a separation within and without that’s occurring between two people along with the instances of blissful reminsicing about the sheer power of being immersed in the rapture of devotion and passion. The visual presentation here greatly enhances this with artistic and creative punch, bringing out these emotional explorations, peaks and valleys, while the accompanying music score also provides just the right touches of emotive impact in the moments it’s utilized.
I will only say that, for this critic anyway, the third act/finale we’re entreated to presents a stirring non-verbal sequence that just shouts volumes to the film’s intentions, just so magically orchestrated and executed. It’s an exercise in contrasts, again so adeptly precise and perfect for the film’s themes, when it comes to the demeanor and attitudes portrayed with subtle poise, finesse, and genuine heart by the two lead actresses here. First there is Olivares’ turn as Rey, an overly driven chef who’s come to a state far beyond just being a little worn out by the labors she’s putting forth at her job, to an extent that its effectively ALL she’s about, frustrations and all. Seemingly in a constant reality of utter weariness in body and soul, her experiences at home are only fueling a discontent when feeling like she’s in a one-sided partnership, though tending to be more nit-picky and critical at times rather than constructive towards Elle.
Olivares exudes the character’s dilemma with total believability and fervor, especially in how she presents Rey’s re-awakening which is simply unfiltered, impactful release. To a different magnitude that’s no less filled with energy, unfeigned warmth, and quiet but very present intensity is Hobby’s performance as Elle, the other half of a currently clashing relationship that’s teetering on the brink of their actuality doesn’t shift for the better soon. A struggling painter but still more carefree creative soul in manner, Elle’s main attempts to freshen up and keep alive the couple’s pairing is obvious and outright casual relative to Rey’s more pent-up approach. Trying her best to BE that positive voice of support, Elle soon starts to truly encounter the barrier being formed between them, and even in spite of it, still makes every effort to heal the widening gap and take the pressure OFF of Rey.
Hobby brings about such a fully credible air to the character, infusing Elle with firmly innate strength tempered with a charming innocence and quality of kindness that radiates from the actress in waves throughout. The only main supporting appearance is made by Andrew Ingalls as a fellow chef at Rey’s place of employment. So, in total, “In Passing”, once more demonstrating that an LGBTQIA+ based film can transcend this core element and apply to anyone, illustrates deftly and with complete transparency joy and anger, affection and resentment, and the emotional imprisonment we allow to occur when outside factors poison our commitment to one another. Then, it comes down to discovering whether we seek an end of heartbreak and instead embrace a necessary humbleness to be then followed by the potent liberation of a love reborn and renewed.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
