WATCH THE TRAILER HERE
First, the Recap:
A disclosure of truth, the consequences of choice, and the need for acceptance. It will never be an easy venture to advise those closest to us about any form of previously concealed fact about us when we know from the start to do so is to, at minimum, court backlash and more. So, we do everything we can to orchestrate that ever-elusive “perfect moment” to reveal it all, somehow believing this will lessen the blow and foster the understanding we seek. What if doing this was actually IN our control, and would it truly bring about that ideal time like we see in our own mind? Sid (Karan Soni) has maintained his secret about being gay for many years and finally decides it’s that moment to tell his deeply traditional parents Poonam (Sangeeta Agrawal) and Rakesh (Raghuram Shetty). With the aid of a fantastical device that Sid tries to employ to make it all go smoothly, the journey to create that faultless juncture in time proves MUCH harder than he ever imagined.
Next, my Mind:
Having covered a significant number of South Asian films that currently venture into the realms involving sexual orientation and its newly emerging state of being in this particular culture thanks to the landmark decision made by India’s government on a Thursday in September 2018 that saw the end to the century-old Section 377 , it’s admittedly been a surprisingly fulfilling venture for this critic via the multitude of pure, undisguised, artistic cinema that has been conveyed to me through the South Asian community, given that as a whole it isn’t a subject matter I usually prefer exploring. However, what I have seen for the most part speaks so deeply to the commitment, especially among indie filmmakers, to be fearless, CREATIVE, and compellingly evocative in the projects that do address this topic now since they are even more unrestricted in doing so. While most I’ve seen are primarily dramatic in nature, some elicit a more jovial, playful atmosphere amidst the dramatic moments, and this short film about to be unpacked is definitively one of those.
Screened via my advance coverage of the 2022 DFW SAFF (where the project had its Texas Premier AND won Best LGBTQ Short Film) sponsored by Toyota USA and hosted by Jingo Media Founder/Festival Director Jitin Hingorani and Artistic Director Ambica Dev and as part of the LGBTQ Programming being offered, this 20-minute short from writer/director/producer/editor Naman Gupta, writer Janki Parekh, producers James Orfanos and Neetu Sharma Gupta, and co-producers Vijaykumar Mirchandani, Pulkit Datta, Rita Meher, and Tasveer Film Fund, plus executive producers Rahul Brahmbhatt and Nav Gupta not only delivers the marvelously entertaining goods via an intelligently written, perfectly executed dramedy foundation, but even throws in a tinge of science fiction to boot, gleefully yet purposefully and impactfully presenting a story about one young man’s choice to come out to his parents but desperately wishing to do so through the painstakingly elusive “IDEAL moment”.
As the narrative unfolds with all the laughs and wholly believable heartfelt moments it manifests, we once more see just how adept indie film is in taking a baseline concept or theme and translating it into a much grander applicability for anyone who’s watching, maintaining the primary focus about coming out, but then traversing it through what almost amounts to a nightmare (again, hilariously so on many levels) version of “Groundhog Day” in a manner of speaking while we see the notions of how hard it is to reveal ANYTHING that will still challenge cultural/societal or parental norms and expectations in spite of there no longer being a truly valid reason to fear a negative reaction. Thematic turns about ostracization, shock, disbelief, the argument “it’s a disease”, supposed “selfishness”, reputational damage to a family, betrayals of trust, and other facets so often associated with people coming out is showcased with stirring force, the emotional toll of it subsequently expressed with equally tangible reverberations that resonate with you as a viewer.
How the film continues on from the pivotal instance is just amazing and so moving, leading up to a finale that was sheer GENIUS as far as this critic was concerned! As I have certainly brought up in past reviews from previous festivals when it comes to this topic, what I absolutely cannot deny is the fact that this once more is NOT some overt propaganda effort or preachy “soap box” effort in any sense of the word when it comes to the LGTBQ lifestyle its story is centered on. It keeps it all out there, but in a manner and tone that ushers in a better level of relatability for ANYONE, regardless of lifestyle choice. Whether you choose to agree of disagree with the lifestyle in this context, the film remains one you can still simply sit back and BE completely entertained by, taking from it what you will, and knowing that it is, at minimum, a beautiful example of what the independent film community does SO well–provide grounded, realistic, approachable characters and narrative-driven excellence that just draws you in from start to finish.
Having just come off seeing Soni in another recent piece of brilliant filmmaking awesomeness through the COVID-19 dramedy “7 Days“, it was quite enjoyable and utterly satisfying to see the actor flex his excellent “everyman” demeanor in tandem with a wonderful sense of comedic timing through his role here as Sid, a man in a serious state of both blatant vulnerability and abject agitation in attempting to break “the news” to his highly traditional parents while being confronted with the desire to make it go TOTALLY swimmingly. Encountering a number of–obstacles–along with way, Sid’s journey to revelation is one of need and understanding, though getting to the latter point could take some hard moments between them all. It’s an exercise in impassioned and delicate release and Soni absolutely nails these varying atmospheres with precision and wholehearted believability.
The primary supporting roles arrive through Agrawal and Shetty as Sid’s sometimes overbearing, sometimes comically erratic, sometimes charming as all get out parents Poonam and Rakesh, who needless to say don’t necessarily always aid Sid in his endeavor to speak his necessary truth to them. Watching as that reach that integral turning point and the ramifications that follow is so splendidly palpable visually and emotionally, and both Agrawal and Shetty embody the spirit of parenthood and the connection with a child with such credible poise and delivery, again both dramatically and humorously. Additional supporting appearances are made by Trella Mebieth as a hapless waitress somewhat caught in the proverbial crossfire, Cody Azevedo and Nova Soares as a rather, albeit unintentionally, disruptive couple, Ben Cable and Michael Conroy as cooks in the diner where all is taking place, Michael Williams as a local trucker at the counter, Andrew C. English Jr., and Kai Woodworth.
So, in total, “Coming Out With The Help Of A Time Machine” wears its themes on its sleeve, providing a fluctuating air of anticipation, upheaval, apprehension, and hope with that sci-fi twist added in to create a story that leans both heavily on the seriousness of its purpose, but not at the expense of lighter-hearted substance or at the sacrifice of its core intent. It’s the wonder of indie cinema once again proving to this critic that the ART of filmmaking and the quality that can come from it is still alive and can transcend preference in order to appeal to a much wider audience.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
