WATCH THE TRAILER HERE
First, the Recap:
What truths do we hide, not only from others, but more importantly from ourselves? Is it a natural instinct to find the means to run away from the pain of things we would rather, even if understandably, forget instead of making the effort to actually face it and find the necessary balm for our soul we desperately need? Then, when encountering others whose own lives are less than perfect, does this become the harbinger for that healing? Or, does it only serve to make us bury the hurt even more? Drifting into the city of Melbourne in a state of both unsettledness and longing for escape, Eleanor (Olivia Fildes) tries all she can to simply “disappear” while in the meantime still at least finding some semblance of human connection. Yet, even as things might seem to be evening out for her, Eleanor soon discovers that the real way to outmaneuver her jaded past may be harder than she hoped.
Next, my Mind:
The move from short film to feature length, this critic is surmising from both direct testimonials as well as by general conjecture, is nothing less than daunting, as soon it’s higher budgets, most likely more cast members, ideally grander filming locales, extended storylines, etc all now being required, much less creating within the wonderfully, artistically prodigious but undeniably more challenging realm that is independent cinema. So, it is was with that personal understanding and perspective I chose to embrace when it came to this 78-minute debut feature film from Australian writer/director Andrew Walsh plus producers Daniela Ercoli and Dia Taylor, which successfully carries a completely character and narrative-driven format (a STAPLE of indie film) forward with well-grounded purpose, absolutely solid, uncomplicated execution, and a fully credible, accessible “slice of life’s obstacles, obligations, objectives, and outcomes” tale we can all find a way to relate to.
The narrative that sees a young woman’s journey towards discovering the means to abscond from the pains of her past while simply wishing to even feel accepted and human again in many respects even in spite of choices that could still spell either liberation OR further disappointment gets delivered with a mix of slightly slow-burn but still engaging dramatic energy paired with a certain degree of comedic instances that proficiently illustrate what it is to seek out a better existence while also being open to relinquish the past in a more healthy manner so that we can truly move forward and actually feel GOOD about it. However, what I liked about this foundational premise is that it honestly isn’t THAT cut and dry, for the film is more than willing to reveal that sometimes what we THINK are decisions for our improvement, we tend to get in our OWN way or, at minimum, not assess adequately the cost or consequences our actions might bring about.
And it IS this aforementioned ability to showcase just HOW imperfect we are as people, so often needing those harder lessons along with the easier ones in order to finally arrive at the point we REALLY need to be to therefore acknowledge and accept what we need to accomplish and how which ends up for our betterment. Once more, it is along these ever-fluctuating, volatile, and unpredictable lines the narrative traverses, drawing you in as a viewer to wonder what the end result will be, and it all does lead to a finale that makes total, logical sense that left this critic with a bittersweet reaction in how events unfold, though I still also say it IS a positive one ultimately. Thematic explorations, as with so many indie efforts, abounds here, covering coping with our mistakes, allowing old or existing attitudes and tendencies to rule our choices rather than thinking things through, the nature of humanity at both its best and worst, sexism, heartbreak, love vs. lust, societal prejudice/discrimination, being at our own weakest and strongest points, abiding friendships vs. facades, and both literal and figurative immersion to cleanse ourselves all get focus here.
Fildes is utterly believable and imbues the character she’s portraying with equally feasible and constantly transforming magnitudes of happiness, apathy, frustration, anger, emotional brokenness, vulnerability, and very conspicuous moments of fervent fortitude via the role of Eleanor, a woman on the verge of both breakdown and breakthrough as she arrives a stranger to Melbourne and therefore as an outcast from the outset given where she heralds from. Attempting to find any means to acclimate to the new atmosphere both friendly and hostile, she’s soon encompassed by the realities of her own ongoing need for freedom within and without, the also-fallible people she soon associates with, and the kindnesses and betrayals she feels all while also confronting the demons she needs to in order to experience the elusive solace she desires. Fildes’ beauty and charm embodied within Eleanor’s fractured, and initially hidden, state of being is excellently tempered with the inward battle she’s encountering, and how this comes across throughout the course of the film is perfectly executed in the actress’s performance, eliciting the hesitations and empathy we end up feeling about and for her.
The primary supporting players arrive first from Cris Cochrane as Roy, the somewhat eccentric and slightly erratically behaving landlord whose home Eleanor is letting a room in and who becomes what could seem like a possible difficult/untrustworthy presence for her until their interactions become truly built on a protective camaraderie that could mutually benefit them both. How Cochrane embodies Roy’s sometimes prickly, consistently unfiltered (at times hilariously so!) demeanor that just endears you to him is a testament to the actor’s skills we are witness to. Adam Rowland is next as Charlie, a neighbor of Roy’s, who seems that mix of rugged rogue but realistically caring person, hence someone who Eleanor gravitates to almost immediately. Even as the she pursues things with him, Charlie’s shifting thoughts and manner towards their “relationship” is innocent, but then tense and unsure, making what they both appear to want attainable yet forbidden. How this plays out marks some key junctures in Eleanor’s path, and Rowland assuredly gives Charlie’s character the appropriate approach to events through his smartly acted performance.
Will Weatheritt is Matt, another young local “everyman” who meets Eleanor while searching for his own place to live in town, one place being Roy’s room she ends up obtaining. Working at a clothing shop to make ends meet, Matt’s own unmistakable attraction to Eleanor makes for a wholly undisguised playful, friendly, but still obvious awkwardness between them and potential “I think we’d be best off as friends” scenario that Matt grows more and more impatient with. Whether things can work out for them becomes a question only time will answer, and Weatheritt’s performance just engages you with Matt in such a plausible way, a “we so want to see him “get a win” here situation solidly given by the actor. Other key supporting appearances integral to the story are made by Naomi Lisner, Laura Bellomo, Claire Duncan, Simone Oula, Sienna Stass, Jayden Denke, Nic Stevens, Raine Alexandra, and Rami Roma, all of whom provided terrific performances here, though this critic is sorry he cannot get into details for everyone or this would be encyclopedia-size in scope. Please know you were appreciated!
A wealth of other supporting appearances (as I always try to do…NO…SMALL…PARTS!) are also made via Steven Haar, Dia Taylor(voice only), Hannah Burt, Faouzi Daghistani, Serkan Tokgoz, Emily Dominko, Greg Gorton, Callum Gault, Helen Dominko, Sharley White, Teuila Jarvis, Dan Heubel, Aaron Appleby, Lauren Huggard, Thomas Drew, James Martin, Marko Orlovic, Paul Predator, Brad Nelson, Lucy Buchanan, Benji Wragg, Monika Thomas, Rhys McMillan, Jake Spinner, Katie Long, Leo Notarianni, Mherhean Giray, Jacob Soeradinata, Connor Wilson, Madeena Rohaizao, Has Singh, Radley Chin, and Brian Cox. So, in total, “How Deep Is The Ocean” clearly navigates its amalgamation of stormy and calm seas with convincing conviction and a definitive viewpoint that no one should ever think life will always be well-packaged or smooth sailing, but rather filled with the tempests we must push through, the actualities we need to grapple with and either overcome or surrender to, plus try to have the hopes of seeing that sought after respite of heart and soul we long for so we can let go and continue on.
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
