WATCH THE TRAILER HERE
First, the Recap:
It’s time to end it. For good. Completely. Forever. When someone discovers that they feel there’s just no other recourse to experience resolution, absolution, or simply escape from this thing called life and that which has let them down or otherwise consistently nags at their conscious, the aforementioned reaction seems to, sadly, be what appears to represent the only “out”, hence eliminating the suffering. However, even in these states of absolute despair, what happens when an unforeseen catalyst of change, even if enticingly chaotic in itself, might enter our circle and wake us up to reality again? For a suicidal Frenchman named Guillaume (Guillaume Campanacci), he’s already tried to find that “bliss” of oblivion, not only to fail, but end up connecting with an alluring woman named Vedrana (Vesper Egon), with the ensuing storm of lustfully romantic and candidly revealing courtship that will entail both elation and agony as they try to determine what the future, and the past, is to them and their developing union.
Next, my Mind:
There is arguably one of the most creative, fun, and deeply TRUE opening sequences that comprises the initial moments of, and deftly sets a highly eccentric atmosphere for, this 91-minute indie feature film effort from writer/director/producer/editor duo Guillaume Campanacci and Vesper Egon along with producer Marie Anais Gatto and executive producer Jonathan Haylock, solidly establishing right up front for those who dare to tread here–leave all pre-conceived expectations at the door, prepare for the beautifully executed, deliciously avant-garde ride you are about to embark on–or otherwise don’t let said door hit you on the way out. There’re even several “I’m sorry’s” thrown in the film’s opening narration to make you feel better. Now, one might wish to think this is all some kind of harbinger of doom for my upcoming thoughts on the film. Let ME tell YOU up front now–nothing could be farther from the truth. Indie cinema is bold, different, and strives to make a splash, and that for this critic is precisely what transpired here.
Quirky then comical, dramatic then painful, erratic then settled all while eliciting shades of everything from (admittedly out there) romantic comedy, cascading, pulsating music video, and a chaotic, love-drunk fever dream, you might begin to scratch the surface of the narrative unfolding before you that sees one man’s battle with the end actually aiding him in finding himself, someone else to relate to who completes him, and their whirlwind relationship that will change them both, though for better or worse remains to be determined. Folks, this film in many respects doesn’t follow a traditionally laid out format in how it presents the story, and so it requires just what Campanacci’s priceless opening sound bite at the film’s onset requests, to a “T” ( along with the intelligently sharp humor it embodies as well!). You have to be willing to suspend convention, embrace the off-kilter, relish the insanity of it all, and then appreciate the art of filmmaking it showcases. Honestly, it was so fresh and unique to me, it just makes me appreciate even more deeply the wonder of foreign cinema and, by default here, independent film overall.
We see thematic explorations come out in droves, which is another longstanding hallmark of the grander genre, that address the demons of suicide, cynicism, repressed and outward anger, addictions, how we bury our shame or other emotional wounds, and overall embittered outlook on life and our past mistakes (whether we regret them or not), as well as far more positive ones like the value of family (even when they drive us nuts), the acceptance of opening up to someone, loving freely and with total conviction, discussing our dreams and what-could-have-beens, and just letting go, while also facing the challenges of being genuinely, selflessly empathetic, being enraptured by “the dance” of love as opposed to real commitment, finding that we really don’t know each other as well as we like to think, and the detachment from our past that tries to come and inject itself in our lives again and the subsequent spiral it throws us into, all of this are aspects I pulled out from even a narrative as purposefully unstructured yet strangely logical as this one, for the foundational core to me is one of self-harm vs. self-help and the circumstances that drive it.
The finale of the film is just SO perfect, that’s all I will say. Watch the film and understand. Also, the music is a marvelously eclectic mix of what I am guessing are popular or at least known New Wave songs and/or similar music, and it adds excellent backdrops for the sequences it’s utilized in throughout the film’s runtime. Campanacci is one amazingly engaging presence from start to finish through his role as Guillaume, a man already over the edge and whose tried to ensure he won’t be around any longer to wallow in the apparent misery he’s encountered. However, having been involuntarily “saved” from his self-inflicted fate by just failing to succeed at it, he ends up inexorably enraptured by a woman he meets at a party who takes his world for a spin and causes him to find something worth living for. But, will he actually be able to maintain this seemingly flawless union, or will the past and personal conflicts tear them apart? Campanacci so adeptly illustrates the unhinged nature of his character’s plight, infusing him with traits that are endearing and others that are (mostly playfully but sometimes seriously) worrisome. A fantastic performance oozing with charisma and necessary volatility.
In a very similar fashion, which again IS needed for the direction of the story here, Egon beings her own intensely energetic, emotional, dynamically fluctuating aura to her role as Vedrana, an somewhat enigmatic woman who manages to capture the attention and heart of the embattled Guillaume and be a part of their frenetically paced romance that follows. The more they press into each other, the more Vedrana becomes enamored and supportive of him, even when his inner struggles sometimes show. But, she isn’t an picture of total perfection herself, and when she finally decides they can truly settle down, it becomes more and more evident that perhaps all is not what it seems when it comes to life, love, commitment, and an actual future together. It’s a rollercoaster ride to say the least, and watching how Egon navigates her character through such a tumultuous and non-standard relationship is mesmerizing thanks to the actresses’ captivating beauty that gets tempered by a wary, demanding, and cautiously optimistic demeanor that helps her guard her heart. An admirable and noteworthy performance without question.
Primary supporting roles are present from Alexandra Dellemme as Guillaume’s sister Alexandra who’s more than concerned for her bother’s happiness but has her own life transitions to deal with in getting married to Nathan, played by Nathan Dellemme, who has made his fair share of attempts to get Guillaume back into reality when he’s strayed away from reason. Guillaume’s parents are played by Sylvie Campanacci and Gilles Campanacci who excel at creating hilariously random dinner table conversations that reminded this critic of scenes of a similar, general ilk from, funny enough, a romantic comedy titled “While You Were Sleeping”. Additional appearances are made by Amandine Barea Brossais as Jennifer, Guillaume’s ex who decides it’s time to re-insert herself into his life, Naomi Dellemme, Marlon Dellemme, Antoinette Garret, and Tatiana Gomez Contreras among a host of others. What’s always paramount with any form of more ensemble cast is that there is evident chemistry between them, and that is very prominent here, even with the greater eccentricities of the film.
So, in total, “Whenever I’m Alone With You” sails along on unapologetically singular wings, engrossing you in its emphatically entertaining manner while also presenting weirdly awareness-raising messages about what it is to come to the end of yourself but then experience salvation through the unanticipated force that is another human being who shows we still have worth, can still feel love, can successfully confront the past and move on, and just seek to LIVE. It won’t always be the most straight-laced journey, and not free of the brokenness and healing we require, but if we’re willing to push through, we might just come out the other side better for it and having hope of better days ahead. If not–I’m sorry. Really sorry.
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
