NO TRAILER CURRENTLY AVAILABLE
First, the Recap:
The insidious potency of guilt and blame. To take ownership of one’s attitudes and actions is no easy task, more so during times of high stress and abject volatility that has stirred our life into a stormy turmoil that gets directed at anything else but us. Even when situations have come to light that, on the surface, justify the transference of said elements upon another person, does it actually provide the inward absolution we seek–or shine a revealing light on what we don’t wish to face within? It is a bleak day in the life of both Corey (Colby Cyrus) and Emmet (Andrew Medeiros), who now find themselves having it out at the funeral reception for the woman they both loved, Nora (Eden Tuckman). As their mutually shared despair and anger well up, what will the confrontation end up showing about both of them and the respective parts they played in such a devastating loss?
Next, my Mind:
An affecting portrait of anger, poor choices, the search for inner absolution, the justification of abiding love vs. “in the moment” infatuation, coping with severe loss and its lingering torment, topped by the painful reality of relationship pressure pushed too far and driven to heartbreaking extremes, this 22-minute indie short film tackles a highly necessary but consistently distressing subject matter at its core while exploring the volatility and indecisiveness of human nature when it comes to maintaining fidelity amidst personal conflict. Thanks to deft writing plus straightforward, in-your-face, yet poignant direction provided by director/executive producer/cinematographer Colby Cyrus and writer/executive producer/cinematographer/editor Andrew Medeiros, it’s all combined into an impactful recipe that creates a believable and intense narrative that will leave you thinking well after the film ends. This is the second effort I have had the opportunity to take in from this duo, the first having been another CPIFF entry, “Exitus“.
The story that finds two impassioned men having to face actualities of their own making as well as the mutually shared circumstance that sees them at odds during an unfortunately timed confrontation during the funeral reception for the very woman they both found love with in different ways, what strikes you is that, in some form, situations LIKE this exist out there, with results that can likewise end up precisely how they’re depicted. Again, that fact alone is so saddening, as the primary catalyst for the narrative’s foundational focus is an ongoing issue needing to be addressed and worked against more and more in this currently tumultuous world where it feels like EVERYTHING is more about only thinking of oneself, regardless of how it might negatively affect anyone else in the path of the decisions being made. As shown in this film via the cascading ripple effect events have on the characters, being transparent, this is NOT a happy story.
Yet, perhaps it is the subtle genius of how the project unfolds, as there’s such an intricately influential undercurrent of quietly but dynamically stirring, genuine soul intertwined into the fabric of the somber atmosphere, infusing a true moments of adoration that the characters DID experience between each other, despite said interactions having been birthed by the honestly imperfect judgement calls being made by ALL of them. But it’s the dual perspective we’re entreated to that ultimately provides the narrative its punch and certainly allows the finale to carry the amount of weight and awareness-raising intent that it does. The film’s visual presentation remains uncomplicated throughout the present-day vs. flashbacks format delivered, and that’s perfectly fine and effective since story, character development, and the revelations it all brings forth are what’s paramount for the specifically purposeful message we as the viewer are meant to take away from it.
Cyrus radiates raw, simmering, yet smartly controlled emotional energy through his role here as Corey, a man reeling from an immediate loss but who also harbors other inner pain that isn’t known at first to us. Firmly showing how much losing his wife is already difficult enough, having to then encounter the apparent REASON for everything that’s happened to lead to his current plight only creates a boiling over point that becomes both a release yet sobering reminder of his own shortcomings that contributed to it as well, even if understandable given what he’s been through. Whether he’s willing to accept this in the heat of the moments portrayed or not is the main gist that we witness, and during the full runtime of the film Cyrus maintains the imperative level of vigor without it seeming overacted or forced, which in turn creates a character you root for yet don’t ALWAYS empathize with either. Well played.
In a well-enacted, distinctly but importantly differing fashion, Medeiros’ performance carries a smoldering strength but is tempered with a more understated magnitude of dramatic impact that very much befits his role as Emmet, the other man in the picture who now likewise must attempt to stand up for and defend his own actions and choices made when it comes to the involvement with Nora and WHY. Entering a deeply hostile environment for him to be in right from the beginning, Emmett withstands Corey’s accusations flying at him with unrelenting force while also having plenty of his OWN to fling back. Yet, as it is made evident what Emmet’s stake in the affair (literal and figurative) was, it is once more a divulgence of both culpability and responsibility that rises to the surface, with Emmet’s reasoning and rationale to all that’s transpired becoming clearer as the story progresses. It’s a fantastically executed mix of nuanced and blatant fervor Medeiros emotes throughout, a credit to the actor’s skills.
Tuckman rounds out the primary cast here by providing a beautifully charming, engaging, grounded, heart-rendingly moving performance through her role as Nora, a woman who has ended up at the center of two men’s hearts that has masked far deeper, inward-centric agony she has been facing in the wake of both currently harsh but not remotely unredeemable marital conditions vs. the hasty need for release and comfort she pursues. As hinted at above, we see Nora’s traversing of these two paths shining a light on the greater resolutions she feels are needed, but also exhibits the absolute dichotomy found in her behavior and turmoil of spirit she therefore becomes overwhelmed by. How this dictates her final move forward is, as also indicated above, the basis for the entire narrative’s endgame, and Tuckman embodies the character’s struggles, through happiness and distress, with finesse, poise, and utterly endearing believability.
Supporting appearances are made by Caraline Connor, Derek Cyrus, Ashley Kowalchuk, Harold Cedano, John Lorange, and Kim Cyrus. So, in total, “Torn” is an unflinching illustration of what can occur when we choose not to face our own issues or deal with them constructively while subsequently invalidating how others are feeling even when not evident on the surface and hence treated with unnecessary and potentially damaging neglect. The film’s message is one to be taken very seriously and this critic hopes it is one more project that prompts higher awareness and action, bringing back to our minds the importance of mental health and discovering better options to be more open, seeking help rather than allowing tragedy to end up being the motivation to do so.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
