WATCH THE TRAILER HERE
First, the Recap:
Complete captivation. Innocent allure. Undeniable intrigue. Can it be safely stated that, in the correct contexts, these notions are powerful, persuasive, and might lead to fulfilling ends? We seek so much to discover means by which to initiate excitement in our existence, to go beyond the norm, break the routine, and experience something truly satisfying in the labors we put forth. However, what happens when this can all lead to even more unexpected outcomes–or potential disaster? For budding photographer Karl (Thomas Law), such a plight comes into focus when his experiments with a fresh, distinct vocation find an unanticipated new source of expression–provocative neighbor (Sarah Barlondo). As events unfold, much to the ever-fluctuating opinion of Karl’s best friend Virginia (Lottie Amor), it calls into question morality and the biggest element of it all–the price of privacy.
Next, my Mind:
Obsession, stalking, privacy, invitation, personal safety, perception, expression, permission, principals, and outright deception all get finely expanded upon seats at the table of societal ethics, encapsulated via an ensuing battle of wills, opinions, and perspectives thanks to this darkly humorous yet relevantly necessary, seriously candid exploration of what it means to pursue that which we want–or determine if we even KNOW what exactly that IS. Beautifully paced, smartly written, and fully engaging, the indie character drama from writer/director/producer/editor Nick Rizzini, co-producers Carlo de Luca Gabrielli and Andrea Mancini, plus executive producer Lorenz Declercq immerses then sweeps away the viewer with targeted intentionality via a very uncomplicated yet still fluidly intricate study of how one man’s choice in a moment of hesitation then subsequent action opens the door to full-out questions of all the factors named above, not only within himself, but also through gender-centric points of view.
Additionally, the film clearly doesn’t pull any punches when it comes to the concepts of how we so readily rationalize said questionable decisions, especially when having to face another who deems the circumstances inexcusable while also seeing unanticipated willingness to go along with it all. However, the film then offers us a fantastic achievement in taking these diametrically opposed ideas and turning them all on our unwary protagonist’s head in a manner that produces a wonderfully delicious finale that is decidedly well executed, providing us revelations both sobering and heartwarming. I think it’s yet another clever attribute of this narrative in that it actually manages to mix in some whimsically humorous and genuinely romantic ideals to offset some of the effort’s edgier, voyeuristic elements (watch the film to understand the context here), infusing an air of innocense which certainly acts as a foil to what could have been a consistently ominous atmosphere.
At it’s core, what we witness is a definitive exhibition of human nature and how we behave in the face of unforeseen adversity, giving us the chance to ponder how we communicate between ourselves, the importance of it, and illustrating that CIVIL discussion of even a controversial subject matter can foster not just acceptance of differing opinions, but also potential changing of minds and attitudes when getting out of our own way and being open to another’s stance. I think this is intelligently addressed through Karl’s character thanks to his multiple interactions with Virginia, who’s presence and persistence in making him have to THINK about everything he’s trying to justify initiates the moral conundrum expounded on here, for good or ill, hence making how the story winds up more feasible and palatable, at least in this critic’s opinion. Let’s not forget the ideas about things not always appearing to be what they are and the objectification of women, which are touched upon here to great effect as well.
Visually the film has a pure, polished look that, in my opinion, belies that fact it IS an indie effort, but then again, in this day and age I’ve seen more and more examples of just how adept the genre overall is becoming in being able to provide high quality look while working with lower budget situations. Regardless, this effort has wonderful cinematic symmetry in its mix of shots while creating an ambiance that is perfectly apropos for the thematic forays we see. Law brings an equally skillful, intense, yet quietly energetic performance to the proceedings through his role as Karl, a young, ambitious, slightly cavalier man who’s choice to pursue his real passion via photography ends up landing him in just a bit of a quandary. Fully believing he can turn the situation to his advantage while also justifying his actions, everything begins to unravel, even as in the midst of it, something else is brewing that will utterly change his world and mindset. It’s a flawless performance for me, as Law’s “everyman” persona lends the character such a tangible relatability. You can find yourself both rooting for and against him throughout the film, and it’s a credit to Law’s acting that can initiate this changing viewpoint on Karl and the circumstances controlling him.
What is also impressive to me, as well as being a wonderful counter to Law’s character’s antics and attitudes, is Amor’s performance in her role as Virginia, a beautiful, playfully vibrant, but solidly driven and intelligent woman who has the dubious honor of being Karl’s best friend and de facto confidant who finds herself embroiled in what becomes a moral and ethical minefield upon learning of Karl’s photographic indiscretion. Standing solidly on the ground she more than backs up both as a woman and human being, her efforts to flat out dissuade Karl from certain ongoing choices soon causes even her fortitude and stance on things to be weighed against the underlying issue of privacy and how she believes he should proceed or not proceed. Ultimately, it is an interesting turn of events that brings her potentially to a place she has always wished to go, but perhaps never totally saw happening, talking to and assisting Karl out bringing all her own dilemmas to a head. Like Law, Amor is such a wonderful “girl next door” and the kind of friend you’d want to have, and Amor plays it so deftly and with total believability and utterly lovable charm while still being able to project strength and steadfastness as a woman.
Primary supporting roles first arrive through Barlondo as the enigmatic “benefactor” of Karl’s photographic visualizations, Cam, whose beguiling beauty and seemingly ever-changing inclinations about his attentions to her form the basis for the wild ride to come. Barlondo’s performance is entirely dialogue-free, allowing her character’s beauty and actions to speak quite loudly for themselves, all to superb effect. Edmund Kingsley arrives as Richard Bennett, an unwitting pawn in a much bigger game and more than a surprise factor in Karl’s plight. Finally there is Pasquale Esposito as Jay Morino, whose part to play in many respects becomes an even bigger surprise than we would have expected. So, in total, “Framed” is not only very appropriately titled but is one highly worthy indie drama that more than deserves a look. It should call to our minds the actualities of today’s digital/social media/cell phone-driven world, the struggle for ANY sense of personal space, the defining of violation vs. artistic expression, and, in this case, the understanding that maybe it doesn’t always require going to extremes to discover what we NEED when it could be right under our noses the whole time.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
