WATCH THE TRAILER HERE
First, the Recap:
When we’re someone who chooses to exist, in any form, outside “the norm”, it seems inevitable that deeper scrutiny follows them like an implacable force, almost with no other intent that to expose weaknesses or at minimum exploit what doesn’t appear to follow the paradigm of the masses. Yet, while some might find themselves withering under the perceived or real pressures of this, others attempt to fight and rise above it. But, does this still end up causing fulfillment to be achieved–or a purveyor of isolation and uncertain futures? The story of avant-garde indie filmmaker Michele “Remi Milligan” Benedetto (Reza Diako) is one such tale, a man of–uniquely–creative process whose goal to make his films like HE wants regardless of what anyone else might say leads to both a modicum of success–and his completely baffling disappearance.
Next, my Mind:
The process that drives us, the means to execute our vision which both burdens and defines us, the inescapable oppression of things both in and out of our control, the equally tedious and precarious turn of fate, and one man’s ultimate destiny and a legacy he wished to have provided the world all become foundation points of satiric-centric, raw, purposefully off-kilter entertainment and legitimate contemplation as viewed through this 71-minute “mockumentary”-style feature from writer/director/executive producer/editor Samuel Lodato and executive producer Sophie Lodato. Putting an all-too-realistic face on the facets of what it is to BE an indie filmmaker in a world of mass appeal and money-grabbing focus, what really should strike you IS the very fact that this effort shines a necessary and compelling light ON the hard realities of attempting to discover true success and gain actual recognition from the low-budget end of the industry’s wide-ranging spectrum.
Showcasing odes and/or tributes to such classic cinematic endeavors like “Evil Dead 2” and “The French Connection” as well as general, hilariously pointed jabs at genre films and “making societal/cultural statements” while they’re at it, the narrative follows the twisty roads and eccentrically challenged choices being made by a filmmaker who’s only desire is to make films as HE wishes and send them out into the world to be viewed and judged while likewise trying to just BE who he is as a person and NOT allow events to change him, something that may or may not be obtainable. Even to the extent of illustrating an artist releasing his TRUE masterpiece (think Kubrick and “A Clockwork Orange” or Scorsese and “The Godfather”, etc), the film and the format chosen here to bring it to life exceedingly becomes its OWN envisioning and proclamation about the arena of those creatives who maintain PASSION for the ART of filmmaking. Even Mr. Potato Head isn’t safe here!
This IS the indie film realms, folks, filled with fearless and uncompromising people who want nothing more than to provide projects that STAY with you due to their originality amidst a cacophony of cliché and HIGH amounts of “been there, seen that”. This film deftly addresses a plethora of aspects found within the filmmaking community, from strange brilliance to be had with “out there” story concepts, the desire to tackle difficult but relevant subjects, making do with what one has with no studio backing to finance things, the aim to simply entertain, on-set conflicts, battles for credit, the diversity of visual formats, even how the radical change from VHS to streaming and related elements impact the independent filmmaker, to literal personal tolls just BEING in the industry wishing to make a name for yourself while offering something that has MEANING (or, one HOPES anyway) is an uphill, taxing, frustrating journey. The weight of LOSS is also explored as well as bullying and other emotionally impactful instances that can shape someone’s outlook on life and who they are.
What then makes this film both fun and, this critic feels, so transparently frank in delving into this domain are the “interviews” being conducted with those closest to Remi’s adventures and how the subsequent unfolding of his life has impacted them. Yes, Lodato & Company COULD have made these ONLY for laughs. BUT, instead, there’s a tangible resonance that feeds the film’s atmosphere of intelligently sharp commentary ON “the business”, and therefore delivers a cautionary yet inspiring message which I feel reflects this magnitude of dedication and resilience the indie denizens hold fast to in the ongoing commitment to do their best to see authenticity remain KEY to the filmmaking approach represented. Plus, it’s an earnest and unflinching look at the price paid for tensions and stresses experienced for the SAKE of pursuing this level of art among, as mentioned earlier, such an overtly self-serving and mass appeal driven business actuality.
Diako is wonderfully farcical as much as he is serious and intentional in how he portrays Remi, a single-minded, utterly unwavering, fervently energetic indie filmmaker whose only primary objective is to see enough accomplishment gained so he can truly make his magnum opus. Yet, as it soon becomes apparent his manner, while loose and playful also has a more conceited side that tends to come about to the detriment of others, his escapades come to a head and alter his perception of all around him, leading up to a point of no return, figuratively and literally. It’s both past, present, and then the shaken future that will affect ALL who are around him, and whether it WILL be for anyone’s betterment remains the deliberate, cornerstone enigma the film is going for here, with Diako smartly navigating the character’s whims, flaws and all, with humor as well as a mix of calculated and unexpected hubris. It’s a study in subtlety and forthright acting, well-played from beginning to end by the actor.
Primary supporting roles arrive through Francesca Kos and Rene Costa as Remi’s parents Lucia and Enzo, who fondly recollect about their son in ways only a parent would bring about, Sophie Aisling as Haley, Remi’s main BTS camera operator, Sebastian Romaniuk as Ingvar, Remi’s close friend and frequent collaborator, Andrew Forbes as Will, Remi’s personal biographer, Nigel Thomas and Colin Hubbard as John and Mick, two diehard fans of Remi’s work who keep his memory alive via an “appreciation society”, Sara Granato as Flaminia, Remi’s former girlfriend who tried to make his reality better even after their union reached an impasse, Erin Maria Walther as Lizzie, an actress who played the lead in one of Remi’s films–not quite happily so, and Holly Durkin as Megan, another actress who played parts in two of Remi’s films.
Additional supporting roles come into play through Jo Hart, Syed Masood, Annabeth Westerman-Blake, Richard D. Myers, David Galea, Yorgo Glynatsis, Danny Doyle, Eleni Skarpari, Reiss Kershi, Robert Grose, Sarah Dorsett, Amanda Farrell, Aimee Hislop, Sara Montrose, Hina Pindoriya, Kaspar Green, Sonja Palmu, and Sabina Horner. So, in total, “Remi Milligan: Lost Director” paves the way for completely quirky wittiness while at the same time offering strangely potent, significant introspection on the independent film universe, those who make it happen despite any roadblocks to overcome, and requisite, unequivocal necessity that we as the filmgoing multitudes need to acknowledge, open to supporting the efforts these creative minds are manifesting so that the sheer force that IS character and story-driven filmmaking will not only survive, but THRIVE.
STAR RATING (Out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
