WATCH THE TRAILER HERE
First, the Recap:
Devoted fidelity. Should this not be the aim of any form of relationship, whether family, friendship, or romantic? While we can clearly admit (or perhaps SHOULD more often) that we are only human, flawed, and far from pictures of perfection, remaining constant and committed to anyone we claim to genuinely love should be evident in word and action, through almost ANY circumstance. But, as we also know, this only seems to truly be made known when it gets put to the test. For a young couple, Joey (Alex Suszko) and Rosie (Tessa Torreano), a wintertime getaway appears not only needed, but imperative for their longstanding love to find newfound depth and viability. However, when tensions rise and Joey makes an initial choice to engage with Lucy (Kiele Sterner) at the waterpark resort location they’re staying at, what will it spell for a couple already in turmoil, and who exactly will end up gaining anything when it’s all said and done?
Next, my Mind:
Fractured attitudes, the deepening need for personal and shared healing, the sought after rekindling of two heart’s desires, and the realities faced when love’s spark may have burned out and poor decisions begin to manifest all get wrapped in a wonderfully adept, visually and musically-driven package while paying tribute to an eternally classic by-gone filmmaking era. As seen through the eyes of writer/director/producer/editor Alex Suszko and writer Kiele Sterner, this 74-minute indie feature film presents what this critic would consider an astute study in modern experimental cinema thanks to its adoption of 1920’s technique and overall execution while still maintaining a contemporary mindset. I keep running out of ways to say it, so I will just yet again state the fact–this IS the resounding heartbeat of what independent film strives for, taking what’s been done before and making it fresh, even unexpected, especially in the still erratic state of mainstream offerings.
Navigating the familiar but always relevant, fully relatable waters of relational struggles and what comes about when a distinct separation of perspectives leads to constantly building discontent, the narrative following two young adults encountering conspicuous obstacles (both involuntary and self-made) while attempting to have necessary time away to ideally discover their love again carries itself with clear-cut purpose and uniquely delivered impact thanks to the inter-title and varying music accompaniment that it relies upon. Due TO this utilization and choice of format, which does challenge the viewer to press into the story’s intended emotional highs and lows through only reading and the associated visual cues, it effectively transports us to that former era when this stylistic approach was the norm and one had to therefore employ conjecture for that resonance THROUGH only what one sees and hears sans audible dialogue. Even within the grander, uncomplicated nature of this narrative’s thematic core, you DO still need to THINK about it (in my opinion) to engage with it, and some might not find it ideal.
BUT, I stress and implore you to bear with it and honestly learn to be open and embrace a past era’s sensibilities in order to then gain a better realization and enjoyment of how filmmaking has evolved as an art form to what we in this time are accustomed to. Personally, I didn’t remotely mind or find my viewing pleasure and attention span hindered by the inter-titles, and the score for the film does evoke the shifting moods the narrative provides quite proficiently. The black and white imagery of course suits and completed the ode to silent film this effort does perfectly well, but even if by chance it HAD been in color and still only used the other aforementioned elements, it would have still been more than acceptable. As one would anticipate, the thematic forays are plentiful, covering love vs. lust, the volatility of egocentric demeanors colliding with more logically practical/what-SHOULD-be-obvious thinking, apathy and even harshness towards another’s feelings, unwillingness to be flexible in resolving differences, and how we try to impress and hence either reveal our TRUE colors or otherwise our own insecurities/faults.
Additionally, especially by the film’s finale, it comes down to a straight forward object lesson in “you reap what you sow”, though I very much give credit to Suszko and Co. for allowing there to be a moment of ultimately questioning precisely HOW events really wrap up–and will it BE for good or ill? Suszko steps out from behind the camera to embody an exhibition of what unequivocally NOT to do when seeking to find peace with someone you claim to cherish via the character of Joey, a young man obviously in need to more wholly grasp how to treat a girlfriend when they go on a getaway trip for re-invigorating the broken affinity between them. With circumstances for HER not being absolutely optimal, their adventure quickly turns ugly when arguing causes Joey to end up showing no remorse, offering countless excuses, and ending up turning to someone else as the solution. As the situation spirals, it remains uncertain (but, is it REALLY?) what the outcome of his decisions will be.
How Suszko manages to portray this degree of both embattled/frustrated boyfriend yet totally clueless/virtually heartless cad by only the images and inter-titles is, for me, excellently depicted, and assuredly DOES make you FEEL about the character what we SHOULD. Likewise, Torreano elicits that same magnitude of emotive force but in the opposite spectrum of the scale in her performance as Rosie, Joey’s longstanding (we get the impression) girlfriend who has quite the pre-conceived expectations of what the couple’s getaway could and SHOULD accomplish in spite of a physical limitation that has caused her a measure of trepidation about their trip’s destination. Knowing the location has meaning for him, Rosie tries to make the most of their circumstances, but instead finds herself on the receiving end of stubborn ignorance, critical jabs, and a now-in-jeopardy relationship thanks to Joey’s attitudes and actions she experiences. While at first she might seem like there is some manipulation on her part to bring him around, it doesn’t end up that way at all, and from a more heartbreaking angle, she sees love fading away.
It is this overt vulnerability and unavoidable empathy that we feel towards Rosie that pay homage to Torreano’s performance here, skillfully done and utterly believable throughout. Finally, there is Sterner who has the dubious, yet might we say deliciously appealing, honor of playing a figurative (or literal) Jezebel via her turn as Lucy, an alluring, single young woman on a getaway herself at the resort Joey and Rosie are staying and with whom Joey “connects” with in the midst of his tumultuous (but still misguided) mentality when it comes to where he and his legitimate girlfriend stand. Lucy enjoys the attention and lighthearted manner Joey exudes, which only boosts his already inflated view of himself as he pursues her. Even as Lucy finds herself IN the middle of several MORE than awkward moments between the three of them, she plays along and takes full advantage of Joey, but will she also finally show him that what HE believes resides between them is NOT what he thinks?
Sterner’s wonderfully evident beauty and innocently (but then almost diabolically) carefree and spirited persona she imbues into Lucy so magnificently yet understatedly befits the narrative’s chosen course, allowing the character to BE the impeccable foil to all we witness. And again, I must point out that all THREE actors emote so credibly well given the film’s given methodology of presentation. So, in total, “Waterpark In The Winter” is an undeniably accessible exploration of just how perilous love’s journey can be, but also a cautionary tale about our highly imperfect human nature and why we must be more willing to illustrate authentic dedication to those we adore, curb our sometimes self-destructive tendencies, accept our shortcomings, and reconcile our hearts in order to know what sincere, abiding love can and SHOULD be. Will this film’s format preference be for everyone? As fans of film, its history, and evolution–I truly hope so.
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until Next time, thank you for reading!
