WATCH THE TRAILER HERE
First, the Recap:
Fettered. Trussed. Chained. While the terms might be suitable when it comes to those things we actually WANT to have secured so as not to lose them, the words aren’t so acceptable as applied to our personal state of being. Grating or flat out jarring circumstances weigh down, forcing us to be feeling like there’s no escape to be had. Or, in the face of such hardship, and all else has failed to rectify it, we simply try to do whatever we must to abscond from it. But, at what cost comes freedom? Pensively contemplative aspiring artist Bella (Alexandra Faye Sadeghian) confronts a monster in her drug dealing deadbeat of a stepfather, Gordy (Bryant Carroll). Taking the only road she thinks will aid in creating a new life for herself, it becomes very clear very quickly that reality and putting aside the past aren’t as easy to run from as she thought.
Next, my Mind:
A tale that is harrowing, heartening, uncompromising, and grittily realistic in its portrayal of the travails and triumphs life throws at us, goading or tormenting us, yet still demanding we either falter under its potency or fervently fight back for independence, newfound opportunities, reconciliation of a formidable past, and ultimate liberation, this 101-minute indie feature film from writer/director/producer Isaac Hirotsu Woofter and producers Gil Ebaz, David Robert Fulkerson, Tom Kelly, Mark Allen Kincer, Ramin Karimloo, Ashwin Kulkarni, Nelda Law, Laura Legacki, and Alexandra Faye Sadeghian delivers a one-two gut punch that never falters in its intensity or purpose in illustrating harsher realities we encounter yet also doesn’t shy away from showcasing that through it all–there IS that seemingly elusive but fully attainable thing called HOPE. HOW we arrive there is the power and strength of this story, and it’s a relatable one to at least some degree for anyone who’s had to handle familial and existential disharmony–or simply feels LOST in what path to tread.
The narrative we’re provided here which follows an intelligent young woman caught in a web of severely upending circumstances, the consequences and volatility of her choices to find a way out, and the journey towards opening up to not only herself but others as it all unfolds is told with an intentionally and hence highly impactful pacing that more than keeps your attention as the viewer from start to finish, drawing you in and most importantly engaging you by building your connections with not only the lead character, but fostering either empathy or animosity towards the characters who become deeply integral to the narrative’s course. As should always (ok, perhaps ALMOST always) be the case with a quality film, the viewer SHOULD be captured, then consistently invested and/or captivated, by getting to see and absorb character and story development that actually MEANS something, has complete viability, and speaks to the human condition, whether wholly or in part. THAT is achieved in spades here, at least it was for this critic. By the finale, it does form a cathartic ending we’ve NEEDED in copious degrees! Period.
There’s everything from blunt force, in-your-face magnitudes of violence and emotional upheaval to instances of pure, heartwarming magic and truly everything in between, and THAT for me IS the indicators of a filmmaker who WANTS their audience to FEEL while they watch, not just stare at the screen and not have to THINK, at least a little. Also, there is a deft use of humorous interactions thrown in that at least lighten the mood periodically, which WORKS here because it’s that aforementioned picture of BEING human. And let’s talk, as I so often point out, about a film with a conspicuous level of thematic explorations contained within or beyond the baseline elements, which cover domestic abuse, addiction, manipulation, the awe and fear of new things, letting go and letting loose under previously pent-up emotions, our struggle and stubbornness to ACCEPT help when offered, discrimination, shame in admitting our actualities, the ghosts of what we are trying to leave behind, illegal aliens, the need for shifts in perspectives, our coping mechanisms, secrets and regrets we hold onto, knowing absolute brokenness, and finding those means to take on the benefits of allowing others in who help us see the GOOD and BEST things for us all get screen time here amidst PLENTY more that just needs to be seen through the film.
It’s about how we become accessible and willing to establish deeper rapport with those who come into our lives unexpectedly, seeing that we ALL have our faults, but that in the end, it CAN be overcome and a fresh, even vibrant new life CAN manifest–but we CANNOT GIVE UP or otherwise we will miss it. Visually the film skillfully pulls us into a mix of trauma, joy, and believability through straightforward, sometimes stark images befitting the narrative’s ever-fluctuating moods and settings. Likewise, the music score from Ethan Startzman enhances the atmosphere of events adeptly in order to add that welcome layer of tangible experience for the viewer. Sadeghian is, for me, a totally uncontestable, beautifully emotive force of nature through her lead role as Bella, a young woman on the edge who’s then been pushed over it into all-encompassing desperation to see herself, plus her troubled but beloved Mom, saved from a nightmarish home life. With little initial trust in anyone, much less any faith in existence getting better, Bella flees to NYC, starts anew, but then soon finds her past and those involved that have made it punishing won’t go away.
Sadeghian’s raw, passionate, marvellously directed energy and ability to channel the depths of such overt oscillation in the state of being her character resides within is a total testament to the actress’ talent and ability to portray it all in a manner that remains undeniably credible throughout the film’s runtime, making you endure what Bella is with potent and stirring soul. Primary supporting roles then arrive first from Carroll as Bella’s absolute cad of a stepfather Gordy, who wastes no time proving WHY he’s so maligned even when attempting to show actual compassion for anything or anyone but himself, with any sense of redemption mostly doubtful. It’s one of those definitive characters you love to hate, and as always with this type of character, it’s also an utter ode to the actor’s talents to embody and deliver that, which is admirably done by Carroll. Pooya Mohseni chews scenery as Bella’s doting but deeply traumatized mother Yeva, who longs to BE the rock for her daughter but who’s also under the thumb of Gordy’s awful control and methodologies of manipulative abuse. It’s wrenching, and Mohseni’s masterfully executes the role.
Ramin Karimloo is Owais, a NYC coffee shop owner who becomes one of the first people to give Bella a chance to get established in any positive way in The Big Apple, but who also becomes even more of a guardian for her as time goes on, even when she’s resistant to that trust. I loved Karimloo’s “everyman” approach that lends the credibility to a character you’re rooting for having battled his own issues. Jessica Pimentel plays Marta, a local NYC bar owner whom Bella chances upon at first in her wanderings through the city and who, like Owais, becomes another to make attempts to support but still challenge Bella to overcome her obstacles while also being someone who has her own hidden truths. I loved Pimentel’s bravado in the role, making the character that relatable and entertaining presence while not sacrificing the humanity of the character as well. Josh Alscher enters as Donnie, a high-strung associate of Gordy’s whose influence on him as well as a brutal impact that comes involving Bella lends to our despising yet strangely sympathizing (not THAT much!) with the character, which like Carroll, is a tribute to Alscher’s acting ability here.
Jaye Alexander is another standout performance through his role as Standrick, another primary individual whose initial meeting with Bella is both humorous and tense, but who then becomes a very supportive and fabulously flamboyant though resolute factor in her life, having faced his own battles against those who only treat him certain ways because of skin color and orientation. It’s a noteworthy performance that Alexander clearly relished doing, as his attitude and delivery is simply awesome. Other key and also wonderfully acted supporting roles come through Alok Tewari, Miguel Izaguirre, Ollie Corchado, Christian Jake, Octavia Plach, Quincy Giles, Tai Brown, Eric Cuevas, Jon Froehlich, Vincent Chan, Aixa Kendrick, Aaron Dalla Villa, William Bloomfield, Matt Magnusson, Gayle Samuels, T.L. Flint, Ethan Herschenfeld, Marisel Polanco, Janice Amaya, Jatnna Marte, and Isaac Hirotsu Woofter. I am truthful when I say “Bravo!!” to ALL the supporting players above and those whom I won’t be able to mention by name, as it takes EVERYONE together to make a successful and functional ensemble cast like this–and you ALL did!
So, in total, “Bound” is a compellingly evocative, no-holds-barred exercise in how we ALL must end up being accountable to right wrongs, face our pasts, help conciliate our own inner pain and ideally that of others, and come to the realization that we are stronger than we think while being willing to acknowledge that WE ALL NEED HELP, which isn’t remotely a BAD thing. As we look to immerse ourselves in that which is constructive and better, let’s also hope we can then witness not only a better us, but a better world to surround ourselves with. AND–we should ALL own a “Bandit”, because talk about an endearing character! Watch the film, folks, watch the film!
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
Thank you Kirk! I’m so glad you liked the film. Looking forward to reading more reviews from you!!!