WATCH THE TRAILER HERE
First, the Recap:
Transparency. When we are facing the struggles associated with grief or loss, the natural inclination is to hold it all in, which often becomes an even greater burden to bear, giving the pain, anger, frustration, sorrow, or other internal elements involved no place to go, no place to allow us any sense of release. Yet, sometimes, we end up discovering that emancipation of heart and soul in a totally unexpected situation. It is a late night hour, and weary traveler Olga (Branca Ferrazo) finds herself sitting down at an LAX airport’s 24-hour café while awaiting her flight to Rio. Having brief but acutely sharp recollections of where she’s come from and where she’s been, it’s a restless state of being to endure.
Finally settling in as much as is possible, her solitude is interrupted by the arrival of an equally haggard-looking wayfarer, Daniel (Oliver Rayon), who quietly seats himself at another table before initiating basic conversation between them. As the two somewhat nervously and hesitantly engage further, Daniel comes to Olga’s table as they enter into more wide-ranging discussion about where they’re both traveling to and why, and onwards into sharing more about their lives, even as Daniel tries to lighten the mood here and there. However, as they slowly find themselves more comfortable with each other, the subjects grow far more personal, and what began as simple talk evolves into deeply moving and wholly unexpected healing and connection between them.
Next, my Mind:
Truly, emotively beautiful in its simplicity while being both understatedly and potently stirring in its explorations of the human bond, the elusive strength of trust, the assuaging of sadness, the acceptance of another’s encouraging and challenging counsel, and the greater need for all of it, indie cinema is done due credit through this 80-minute feature film from writer/director/producer Julia Camara. As does tend to be the case with many character dramas in their execution, the film, with its single-setting arrangement and intentionally bare-bones visual presentation, is a more slow burn delivery that some might not believe will keep them occupied for the duration. However, this reviewer challenges those who could swing in that direction to take the time to look well beyond the surface to the sublimely uncomplicated but no less impactful narrative that sees two completely normal people encountering each other by random chance and ultimately establishing that they share meaningful, realistic parallels in life circumstances and how these bring them closer together as people without any preconceived agendas or expectations, just from being open to embracing the warmth of a stranger in an airport café.
Now, this by no means is to say any of us would expect similar outcomes to occur every single time we might meet someone in this overall manner, but rather it paints the picture of the so often absent truth that there is such a lack in this modern world of even a willingness to reach out and potentially find such an interrelation with another person when it could very well be exactly what we are in dire need of. What makes the dynamic work even better in the film is that the nature of this building connection is filled with all the awkwardness found with starting a chat with a total stranger, including but not limited to the stumbles over questions to ask, subjects to discuss, finding the right words, anxieties of breaching delicate matters, etc. that all end up leading to a depth of newfound certainty which in turn causes the wonderfully poignant and highly believable relationship these two people find with one another, perfect in its timing given the tumultuous places they each find themselves experiencing and requiring some release.
Real-life aerialist Ferrazo gets the opportunity to showcase some of her gifted aerobatic abilities in flashback via playing the role of Olga, a woman whose evident frustrations in wanting to get back home to Rio are amplified, even without words, upon taking a seat in the deserted airport café while having to wait on a flight. Clearly exhausted, she also battles memories of time spent with a special someone while also reflecting on the dream career she’s pursuing. When her reminiscing is innocently upended by the arrive of Daniel, there is the immediate sense she hopes he doesn’t say anything to her, so as to perhaps stay apart from anyone else’s travails and remain in her own little corner of seemingly melancholic reality. But, with this not happening, it takes only some moments of initial conversation to accept his company and what unfolds from there takes us on a journey into her world, with relevant explanations about her state of affairs that reveals hidden pains in need of comforting. Watching how Olga chooses to open up to Daniel is very guarded but also trusting, and Ferrazo is a beautiful study in subdued, delicate, yet quietly intense emotional acting that utilizes body language and facial expression to say just as much as the words she speaks throughout.
Rayon exudes a similar amount of hauntingly impassioned and dramatically-charged but purposefully muted vigor in his portrayal of Daniel, a man fighting his own physical and mental fatigue as he likewise finds himself in the same café awaiting his flight back to Mexico. He stays to himself at first until casting quick, casual glances in Olga’s direction before finally deciding to strike up a conversation. His conspicuous hesitations about doing so, initially followed by somewhat clumsy and ungraceful attempts to maintain the parley is soon replaced by a better measure of totally harmless confidence that helps Olga open up to him. His everyman demeanor, though, is also hiding a great sadness of which he is a little more reluctant to delve into with Olga beyond vague notions until a situation occurs that pushes him to share more about it all, focused on his wife and daughter. As he opens up more and more, the pureness of the void and turmoil in him getting let go of is a palpable force, and seeing this occur is genuine and heartfelt, very much like Olga’s inner liberation in sharing, and it lends total credence to Daniel’s own journey and his sincere interest in Olga’s life and trials. It’s a wonderfully subtle but powerful performance that Rayon presents with equally relatable and realistic poise.
Supporting turns are present from Eve Weston as the café waitress Allison who ends up being an unanticipated catalyst to the direction of Olga and Daniel’s talk, Al Danuzio as Olga’s fiancé Lucas, whom we see her recall with fondness multiple times, and Kim Burns as Daniel’s wife Nancy, the heartwarming influence on his very being. Additional appearances are made by Emilia Aldridge as Daniel and Nancy’s daughter Emmy, and Karina Frederico as a woman in the park during one of Daniel’s recollections. In total, “In Transit” illustrates indie cinema charm through its straightforward, undemanding manner, well-orchestrated, identifiable narrative, and unassuming, relatable themes that perhaps might make us all wish we would have such an encounter in order to realize what’s lacking so greatly in this current age–the simple ability to connect with another human being on a level that ends up having unfeigned significance upon us.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
