WATCH THE TRAILER HERE
First, the Recap:
You know, when it comes to the film industry, one always has initial concerns that somehow along the way they will end up finding out it’s a business of backstabbing, eg0-centric, and all-around contemptible tools vainly striving to pass themselves off as “serious filmmakers” conveying “serious messages” about relevant topics. Who can stomach it?? Take for example a cad like Patrick (Patrick Ireland), one such “sincerely earnest” director, out to create a “significant” documentary on the homeless. Choosing a poor, street-bound soul named Liam (Mark Keegan) as his guinea pig, Patrick begins to try and dissect the very nature of what it is to be homeless, at Liam’s often humiliated and calmly agitated expense.
Not giving the poor man any respite from the prying camera’s unblinking eye, Patrick adds more insult to injury in believing he can actually experience what it is to be homeless as well. Taking things ever further, Patrick goes beyond Liam’s perspectives and sentiments by questioning motives of a compassionate businessman named John (Christopher Adams) and a soup kitchen volunteer named Madison (Jo Shirley), while ultimately subjecting Liam to an awkward cleansing session followed by a night of “fun” with two of Patrick’s uppity friends Celine and Carson (Rosie Dunjay & Eddie Chamberlain). Soon it becomes a question of whether there is any possibility Patrick could be a bigger reprobate in his actions and attitudes towards the serious issue of homelessness and if Liam will ever be able to recover from such overt abuse.
Next, my Mind:
For this reviewer, it’s a stroke of creative genius in witnessing a filmmaker deliver an 18-minute short film effort about the making of a documentary that covers a socially pertinent subject but then so deftly manages to turn it on its head and into such a bitingly satirical, politically incorrect, farcical adventure that both entertains yet somehow makes the viewer cringe as well. This is exactly what writer/director/co-producer/editor/actor Patrick Ireland has accomplished here, doing so with artistic flare, straightforward visual presentation, and an acerbic wit so often associated with British comedy. The level of intentionality in making a truly weighty theme such as the plight of the homeless seem so overtly amusing is also in itself quite a feat, but the sheer fact every aspect of the narrative is so overtly over-the-top more than assures us there is no actual malice or ill will towards the realities of those living in this state. Honestly, it could be construed more as a socio-political statement about how many people might view the homeless or think of them as these objects of curiosity rather than what they are–human beings in unfortunate circumstances that could use genuinely caring people instead of self-serving frauds who would actually exploit them for their own benefit. Ugly truth, but let’s be frank–it happens whether you want to acknowledge it or not. So, for all the goofiness and exaggeration here, there’s fact underneath the surface, at least in my opinion. A wonderful music score from Savfk is present here as well.
Ireland is quite hilarious here in, effectively, playing himself as documentary filmmaker Patrick, an utter diva and hugely self-absorbed rogue whose entire demeanor towards pretty much anyone but himself is so caustically sarcastic and mocking. Even his overall interactions with Liam, the man he should have genuine sympathy for, are so filled with that “I’m better than you, but please know how much your situation ‘affects’ me” snide-ness you just want to throttle him. The fact that this manner never changes no matter what or who happens to Patrick along the way is what gives the wonderfully jocular air to events, and Ireland plays it so convincingly one cannot help but guffaw throughout. Likewise, Keegan does a fantastic job in his portrayal of homeless man Liam, who simply wants to be left alone, yet finds himself constantly hounded by Patrick to be featured in his film. The evident tiredness, frustration, and flat out disdain we see reflected on Liam’s face when being addressed through Patrick’s demeaning tone and actions is actually quite a stitch. Plus, Liam’s realization about just how ignorant Patrick really is to his actuality is also quite witty. The building tension and total exasperation we see in Liam is obvious and uncomplicated yet so expertly nuanced in its overall execution by Keegan. It’s a smart performance by the actor.
Supporting turns are made by Adams as a well-to-do but very affable and sympathetic businessman John who gets to be on the receiving end of unwarranted jibes against his nice-ness by Patrick, Shirley as soup kitchen volunteer Madison, whose heart to serve is sincere and on display with all those she interacts with, yet still ends up in Patrick’s taunting crosshairs, Dunjay and Chamberlain has Patrick’s highfalutin compadres Celine and Carson who more than make Liam feel “right at home” during the little “party” Patrick hosts, along with an appearance from Ruairi Conaghan as homeless man Barry, who actually ends up being one of the few minor foils to Patrick’s insanity. While not directly viewed, we also have Christopher Blackmore as Patrick’s cameraman. In total, “The Director” is indie mockumentary filmmaking at its scathingly humorous best while still containing an applicable underlying social commentary, where you will be fully entertained, yet feel totally guilty that you were.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
