WATCH THE TRAILER HERE
First, the Recap:
Falling in, then out, then back in love and the damage done. For all the efforts we put into seeking that supposed “soulmate”, believing we’ve found him or her, then experiencing the pain of breaking up, only to realize upon seeing them again we’ve not truly let go, it’s a more common and vicious cycle than we would wish for. But, when those around us who try to provide wisdom and counsel that advises us NOT to jump back in, do we listen, or charge into the fray once more? For Wes (Michael Lee), the re-emergence of his former flame Klover (Jess Weaver) has him spiraling even as his current best friend Bernie (Kendra Dae Shock) tries her best to warn him off. What will the far-reaching consequences be for them both and their outlook on life when Wes refuses to hear reason?
Next, my Mind:
Ditch the overall traditional notion of the romantic comedy genre and dive instead into a far more darkly witty, weighty, dispirited romp into restless unease, self-loathing, and the candidly portrayed ripple effect of poor choices made with those ever-justified “best intentions” (or not!) via the new indie feature film from writer/director/executive producer/cinematographer Christian O’Shaughnessy, producers Jessica Johnson and David Niles, and executive producers Michael Lee and Robert Morsch. Now, let’s follow this comment up with an understanding that the heaviness delivered through the thematic explorations depicted and/or hinted at just now shouldn’t scare you AWAY from the 76-minute effort, as while it IS true we’re not talking many “happy, happy, joy, joy” scenarios here, it’s a raw, real, and admittedly realistic, disturbingly evocative look at tangibly relatable actualities or possibilities of actions we can put ourselves through and embark on when the pursuit of love has turned ugly.
In following the exploits of two close friends who’ve been more than evidently maltreated by past relationships and the camaraderie they share that gets pushed to its limits and then some thanks to a storm of circumstances and interactions with the specters of their pasts, the film definitively establishes its manner and tone with unflinching comedic timing, specifically and intentionally but not OVERLY exaggerated instances of emotional turmoil, and equally believable levels of harsh truths about how we fall into self-destructive tendencies when reason gets tossed out and pure, fervent, and complete apathy takes over our decision-making processes. How it can lead to the fracturing of already damaged hearts is made evident throughout as well, even when the film’s lighter moments do provide some relief and needed guffaws, and it all rises up towards a finale that places the ramifications of all that’s built up over time and in the now into crystal clear and soberingly stirring clarity for the characters.
Loneliness, desperation, heartache/heartbreak, coping, growing older, crippling insecurities, sabotaging our own path much less others’, loss, confusion, addiction, lust vs. love, anxiety, self-worth or lack thereof, and the entire notion of what it even means to have friendship between the sexes all get their due in the course of the narrative as it delves into these facets of the harder side of relationships and their impact on us, whether for good or ill. As I mentioned earlier, this vision of life in chaos that injects wry, situational humor into its depths plainly aims to showcase that this ISN’T “Runaway Bride”, “Serendipity”, or even “My Best Friend’s Wedding” with their more blatantly playful viewpoints of romantic entanglements. No, this aims to punch you in the face and while eliciting some laughs along the way, and I give the film full measure of credit for being written and executed as such, because as indie film is so constantly adept at, it simply offers a more grounded and, perhaps sadly, realistic venture into love’s trials and travails.
Lee brings to the screen a beautifully presented performance that’s so perfectly believable and apropos for the character he portrays in Wes, an affable “everyman” who’s more than comfortable in his own skin but harbors both longing for a past love that’s resurfaced and an ongoing battle with his own inner demons. Having pressed into the partnership he values with his current best friend Bernie, the bond soon becomes massively strained when Wes begins to hurtle out of control with his previous girlfriend who may or may not be his ultimate downfall. Can Wes withstand the emotional onslaught he soon faces or succumb to base proclivities that he gets swept up in, subsequently encountering the effects it will have on everything that should really matter, remains in question. To witness just how painful and yet somehow strangely comedic Wes’ travels through all this is stands as a testament to Lee’s delivery, drolly and dramatically, through an all-too-accurate portrait of the character’s yearning and dysfunction.
Weaver dominates the screen as well with an initially subtle then slowly building, almost eerily seductive volatility she projects through her performance as Klover, Wes’ undeniably alluring, bubbly, mischievous ex-girlfriend who happens to be back in town and is looking to reconnect with her former paramour. A seemingly innocent journey that speaks to the relationship’s past issues but also to the genuineness of what they had experienced together, all the baggage comes out, which then starts to stray into the always precarious realms of “rekindling the magic”. Klover’s carefree yet quietly (at first) erratic approach to this reunion swallows Wes up, threatening to take them both down a road best forgotten and actions best left unexplored. Whether Klover will be that angel Wes recalls and fell in love with or the devil in disguise is what we’re waiting to see, with the mix of charming vulnerability and almost frightening levels of manipulative maneuvering she possesses, and Weaver makes you endeared to and offput by the character so deftly throughout.
Shock likewise shines bright with a vivacious, animated, yet also so achingly exposed, all-around well-designed performance as Wes’ best friend Bernie, a happy-go-lucky party girl who also more than showcases how dedicated and loyal a friend she can be when that magnitude of trust and/or mutually shared life experiences dictate her and others’ choices and paths. Having established this kind of partnership with Wes, she soon must confront her own past and the hurtful realities of the present when she must stand back (under much protest, mind you) and watch Wes be engulfed by potentially detrimental decisions involving Klover whom we know Bernie has no lost affection for. Even as Bernie soon gets tossed into her own turmoil and embittered outlooks on life, she still strives desperately to regain focus and protect Wes. It’s another hard road to watch a character go through, and Shock embodies the deeper dimensions of Bernie’s struggles with a ferocity then profound sensitivity that makes you root for her amidst all the upheaval.
Primary supporting appearances are present, and very much solidly acted by, Katie Medved as Allie, Bernie’s friend who becomes a much-needed confidant to her given the course of events, Rachel Fey as Lucie, a local party girl whose real search to just be accepted and loved offers an interesting side-story to the proceedings, Omid Harrison as Marco, an ex of Bernie’s who re-enters the picture, and Andrew Raygoza as Calvin, a bartender at an event that could possibly draw Bernie’s attention. Additional appearances are made by Steven Huckaby, Jacob Hacker, Hossein Forouzandeh, Allyson Hackworth, Maya Jairam, Sammie Joe Kinnett, Anne Stewart, Sophie Thunberg, Austin Allen, and Erica Erickson. So, in total, with its title a clever reference to the main themes being explored when it comes to the search for real love amongst the often-self-imposed maladies we can fall into, “Venus In Cancer” gives us a grounded, potent, blunt, uncontrived view of it all, with us laughing a bit, but more so taking in a cautionary tale to truly think about.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
