Indie Film Review “Bigfoot, I Love You” Lore, an uncommon kind of love, foreign locales, and ornery locals make for a completely silly yet satisfying view
WATCH THE TRAILER HERE
First, the Recap:
Urban legends. They are highly prevalent in almost any culture around the world, at least in some form. Perhaps more meant to be the “ghost stories” to use on children (or adults!) around the campfire in the woods to invoke a little scare and unsettledness, there is no denying these fictions CAN be effective in sparking our innate curiosity and wonder. CAN they actually be REAL? For many of us, there’s “Nessie”, the Yeti, the Chupacabra, the Moth Man, et al. But perhaps most famously……Bigfoot.
Documentary filmmakers and longtime close friends Zadie (Nikko Austen Smith) and Kaya (Alan Starzinski) adore their craft. However, when the past comes calling regarding the fate of Zadie’s father and his search for Bigfoot in…Normandy, France???…it ultimately brings about a trip overseas to find out exactly what his research was revealing about the natural (and nonexistent?? Hmm.) icon. But, what she and Kaya end up finding is the last thing on the planet they ever would have thought, and it will change them forever.
Next, my Mind:
Ok, there’s sort of absurd, then silly, then flat out ridiculous when it comes to comedies for me. Now mind you, this doesn’t mean any of that is BAD. But I do say that even comedic efforts need to at least have SOME sense of direction and structure, even when aiming to be nothing else but outright entertainment. The title of this new 85-minute indie feature film alone just begs to have preconceived notions targeted at it, and for this critic admittedly, I DID have said moments. When I finally sat down to screen it, what manifested before me was nothing short of all THREE of those concepts above and then some. Did it elicit reactions that a film of this genre would, or should, entail? Undeniably yes. Did it take a cornerstone subject matter and turn it on its head in a manner that did unequivocally make it original and goofy as all get out? Undeniably yes. Will it rank among my favorite comedies, indie or otherwise, of all time. Undeniably no.
BUT, do not mistake that last comment for a precursor to overtly trashy or negative diatribes to be leveled against the film. For one, that is not my overall style or mentality anyway, but more so because you know what I WAS experiencing when watching this? That consistently present realization of just how much this independent film community loves the art form they’re immersed in, the willingness to put whatever they have behind it, do the best they can do WITH that, and then have the fearlessness to say “World, here it is. Take it or leave it”. THAT demands courage in my opinion, and so writer/director Marcus Nash, producer Juliet Robb, co-producers David Clair, Derek Griesbach, Lisa Hamil, and Dax Stringer, plus executive producer O’Shea O’Shea do this with a solidly executed joint American/French production that, for me anyway, hits and misses, but doesn’t in the least fail to be a pleasant diversion and create the laughs intended.
I mean, alone, the narrative’s premise, which sees two young friends and documentary filmmakers digging into the past of one’s father and the eternal mystery of Bigfoot,…in France…,their collaboration and conflicts with the rather eccentric locals who want to keep certain things a secret, culminating in a wacky adventure of mayhem, strange adoration, and a little familial magic associated with “the Big guy”, is nothing if but outlandish from the start. Yet, even with its lower-budget execution, visual style, straightforward (though sometimes unexpectedly lush) settings, and foundational looniness in tow, the film is fun to ease back and chuckle constantly at, which I felt was indeed what the film is designed for. It does ultimately come across better than I would have fundamentally expected, which was a nice little surprise. It did keep my attention, which is another win. And the lightheartedness of it IS something we do need more of these days as well.
What I believe adds the final bit of craziness to an already nutty narrative is that even the supernatural is brought into play, serving to promote another layer of more “serious” folly to the proceedings. The instances involving Bigfoot, the “love fantasies” sequence, and the basic but hysterical quirkiness of the Normandy, France townsfolk all contribute towards a finale that cements primary themes of preserving myths, valuing our pasts, that true friendships weather all storms, demonstrating a willingness to sacrifice for others, and helping to ensure good triumphs over evil. Hey, in the context we’re talking, we’ll take whatever “depth” we can manage to find while just getting plain amused. It is a film you must go into with level expectations, so as to appreciate what IS being successfully presented and NOT being disappointed if you were anticipating something OTHER than an ode to Mel Brooks-style hilarity.
Smith is, without question, completely adorable, charming, cute-as-a-button, and totally engaging through her role as Zadie, a vibrant young woman pursuing her dreams of being a successful documentary filmmaker while also trying to solve the mystery of her father and what exactly he was researching when it comes to the monster of monsters, Bigfoot. When the journey points to France, and trading advantage of her crazy uncle’s wealth, she and her film partner traverse the Pond to find the answers they want, even if it means upsetting the status quo in Normandy! There’s just this sportive innocence and authenticity that Smith embodies as Zadie, and regardless of what you may think about the film as a whole, I will dare you NOT to fall in love with Zadie (or Smith!) over the course of this effort’s runtime. A wonderful performance to relish.
Starzinski adds another aspect of comedic timing and the accompanying jocular presence through his turn as Kaya, Zadie’s best friend and filmmaking collaborator who proves he is willing to go to some not-always-so-comfortable lengths to ensure they get what they need once over in France, regardless of the potential for harm coming to him in some hysterical ways. Yet, as events come about, there will be a test of the bond he shares with Zadie, and whether he makes it through or chooses to throw in the towel on their partnership remains in question at that point. It’s one of those performances that Starzinski gives here that makes you have a smile on your face and a handful of snickers to let loose when he’s on screen, as that is the kind of atmosphere the actor brings out when playing this loyal but offbeat character who makes every scene he’s in his own or match squarely up with Smith.
Primary supporting roles are abundant, beginning with Teri Gamble as Laura, Zadie’s mother who has more than her understandable concern about her daughter absconding overseas, much less to chase what she’s chasing, yet still remains a supportive voice of reason. Ryan McAllister is Shizzle, Zadie’s kooky-but-rich uncle who funds her and Kaya’s trip to France, while loaning them a plane as well! It’s the kind of bonkers character that you cannot help but love. Juliet Robb is Normandy’s Mayor, a very uptight and domineering woman who make it perfectly clear she will NOT tolerate the town being upended by Zadie and Kaya’s search for the local legend they are after. It’s another over-the-top character that provides plenty of silly fun when onscreen thanks to Robb. Madeleine Robb is Lady Noire, the Mayor’s estranged (or exiled) sister whose sonorous voice has a rather interesting impact on the local…wildlife. She will play a key role in events.
Aurore Padenou is Shaka Paris, a personal friend of Shizzle who’s none to happy with him when she agrees to meet Zadie and Kaya at her home/studio upon their arrival. Bertrand-Xavier Corbi is The Hunter, with a title that says it all….but doesn’t do justice to what he really IS and what his motivations are to seek out a specific big, hairy thing. Dabe Seye plays Akil, Shaka’s right hand man who both aids but also thwarts Zadie and Kaya’s journey for unknown reasons or for personal gain. Jean-Baptiste Artigas is Jean-Claude, a HIGHLY disgruntled local farmer who appears to be an adversary to Zadie and Kaya but might actually be their greatest ally who has a deep….affinity….for tall, hairy things. Joe Alessi is Norby, a main tavern/pub owner in Normandy with whom Kaya ends up at humorous odds with.
Kendrick Owen White is Ricky Santino, Shizzle’s grandson who has a penchant for causing his grandfather all sorts of trouble, yet also looks up to him as well. Additional appearances are made by Jennifer Nash, Stephanette Martelet, Marcus Nash, Mark Ilvedson, O’Shea O’Shea, Lassana Lestin, and Sarah Boleslava among others. So, in total, “Bigfoot, I Love You” does a decent job of honoring the influential filmmaker and his stylings that it models itself after, doing so with evident heart and passion, to construct a final product that IS worth a watch to just relax, escape, and chortle with and at.
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
