WATCH THE TRAILER HERE
First, the Recap:
The one that got away. An age-old tale filled with the laments and heartaches of many a soul who’ve longed for that ultimate love, appear to have discovered it, only to have it slip away whether due to shyness, lack of intentionality, or simple fear of stepping out and up into the situation. What if you were offered a second chance? Would you take it? For Diggsy Ellston (Kristopher Wente), his longings have remained for a highly extended period of time with Suzette Larking (Sara Antonio), a beautifully charismatic woman who’s now been “taken” away from him. While choosing to handle the issue in less than amicable fashion, a stranger named Mortimer (Eddie George) appears and provides a solution beyond anything Diggsy could imagine. Embarking on a fantastical journey, the lessons learned while involving his sister Daphne (the late Brittany Belland) and an unexpected woman named Gwyneth (C.J. Perry) will end up changing his world, and perspectives, forever.
Next, my Mind:
In many respects, this wonderfully crafted, engagingly emotive, and creatively enacted indie feature film from writer/director/producer Motke Dapp, along with producers Ryan Hartsock and David Perry, brings to mind elements of “The Family Man” and “My Best Friend’s Wedding” as it thematically explores to quite affectingly dramatic, romantic, and comedic ends concepts ranging from the pain of separation from that which you have sought with your whole heart, the depth of impactful love with and for another, the frustration of losing sight of what is truly being looked for and important in life, “the grass is always greener…”, our stubborn unwillingness to not just let go when we should, and the actualities that sometimes our selfish pursuits, even when out of good intentions, can end up drastically altering not only ourselves, but others as well, and not always beneficially. We’ve all been in those circumstances where we believe “if I only had a second, or third, or (insert a number here) chance…”, and the narrative here paints a very sobering portrait of this even as it elicits the entire spectrum of emotional dynamics for the viewer with superbly executed effect.
Along those same thoughts, what I continue to admire about indie cinema is the often cited human factor, grounded sensibility, utterly relatable, tangible, influential feeling that one gets in watching a well-delivered and written story, and that is so expertly accomplished with this effort, as can it not be said we all have fallen so much into this exact scenario (well, ok, maybe minus the primary twist that drives it. But, you KNOW you wish it were true, be honest!) where everything we believe is our “destiny” with “the one” ends up not always being what we need the most? Along the path, we then make the choices that can lead into more dissatisfaction than fulfillment, grasp onto those moments where we finally experience what we are seeking, but then still find that it either isn’t enough or, more so, not as perfect as we believed it would be, even at the peril of losing what HAS been provided as ideal. All of this is encompassed within the context of the film’s fantasy-based foundational component that launches its protagonist into his wild adventure, and I was invested from start to finish, especially enjoying the finale that puts the perfect end point on the proceedings, distinctly satisfactorily and plausibly.
From a grander production standpoint, the film is smoothly paced with a brisk, well-orchestrated series of consistently entertaining sequences that allow the viewer to deeply encounter the character’s plight through and through, again with a combination of humor and drama to draw us in and really feel what he feels. It’s evident there was a decent budget behind this effort as well, as the cinematography is clear, seamless, and embraces the film’s wide-ranging foreign and domestic venues where the action takes place with stirring impact. The writing sticks out, too, with straightforward yet smartly done dialogue that likewise enables the viewer to remain at attention and fully immersed. Additionally, much can be said about the film’s alternative music-driven soundtrack with astutely chosen songs that accompany their scenes magnificently, adding even more of the aforementioned emotional quotient that is so needed in great cinematic efforts, as it can be a “character” in itself to enhance the moments it surrounds. The background music score is equally well done.
One can tell Wente is completely in his element as the affable, playfully dorky, long-suffering Diggsy, a man consumed with one woman who has been his innocent and yearned after treasure whom he never pursued in a way to win her. Forlorn and in a state of hopelessness, an unforeseen and radically life-altering gift is presented to him that sends him on a reality-warping quest to resolve his issue. Yet, as he does, he learns more about what it means to succeed, gain that which he wants, find inward and outward happiness in new ways, and finally glean what’s most fruitful and valuable for himself. It’s a sweet and totally entertaining performance that allows Wente to share both his comedic and dramatic chops with realistic and accessible style. Antonio absolutely excels in her role as Diggsy’s object of never-ending affection, Suzette, a captivating and charming woman who gets “snatched away” from his life. But, as he then gains the means to try and alter this, we get to encounter all the various incarnations of Suzette along the way, a far-ranging plethora that entails wholesome to narcissist and everything in between to both hilariously and heartwarmingly acute ways, with Antonio presenting them all with alluring poise, grace, and a winning manner and smile throughout. I have to say the “spaced-out” version we get to witness is a TOTAL riot!!
Perry likewise gives an appealing performance in her role as Gwyneth, a bombshell of a woman who works at a café that Diggsy ends up visiting during his span of travels and whom he develops an unanticipated connection with multiple times over. As her involvement in his world becomes more than he expects, it opens up an interesting series of decisions he must make that she encourages him to explore. But whether this will be for his good given his goals or not remains to be seen, and Perry is so overtly delightful in how she portrays the character you cannot help but fall in love with her. Then, there is Belland who very much turns in a disarmingly endearing performance in her role as Daphne, Diggsy’s younger sister who becomes more than an integral part of his pilgrimage in heartbreaking, joyous, hysterical, and dominantly paramount ways that you never wish to see her not a part of it all. This is thanks to the radiance and touching level of expressive acting Belland exudes in the role, and only makes it that much more tragic that the actress passed away in November 2018, a shining talent gone far, far too early in what was evident to be a prolific, successful career. Seeing her here for the first time was a treasure this critic will not soon forget.
Admirable and memorable primary supporting turns are provided here from Eddie George, Rene Lovit, Miroslav Barnyashev, Alan Powell, Travis Nicholson, Annie Kearney, Susannah Devereux, and Samantha L. Thomas, along with a small group of others who please know your appearances are appreciated! In total, with its sentiments, passions, and purposes worn fully and meaningfully on its sleeve, “Another Version Of You” is an intriguing, amusing, convincing, and enchanting indie film exhibition that should not only provide the entertainment factor we long for as filmgoers, but ideally cause us to look at ourselves and our actions to be more aware of how everything we seek and how we think it should look like might actually be getting in the way of what’s not only less than ideal, but what ends up being so much better.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
