Indie Film Review “Romancing Sydney” Living, loving, and the kaleidoscope of human emotions through the mediums of drama, comedy, and dance
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First, the Recap:
The many shades of feelings. Not to put too fine a point on it, but there’s simply no denying we ARE emotional creatures. As every day comes and goes, we will most likely encounter a wide-ranging scope of sentiment about an equally fluctuating number of things. BUT, can we not agree that one of THE most prominently challenging ones to face is when it comes to the “L” word and our pursuit of it? Yes, that’s right….LOVE.
In the city of Sydney, Australia, this very concept is being confronted to the fullest of effect by six decidedly different individuals. Antique store workers Sachin (Anmol Mishra) and George (Peter Hayes) plus their manager Lilli (Gabrielle Chan), visiting dancer from Germany Elisa (Susanne Richter), and local couple Alex (Connor Dowling) and Zac (Brendon Wong) are each attempting to not only find their way in life, but in love as well. Unbeknownst to them, initially at least, ALL of their worlds are about to collide…but for better or ill?
Next, my Mind:
This critic mentioned in another recent review that when it comes to the realms of independent cinema, as with any part of the grander film industry as well, there remains a definitive myriad of styles, genres, and magnitudes of overall execution that must be taken into account when assessing any given project. This is not stated in order to pre-qualify something, much less become a preface to anything negative at all. Honestly, it’s more to establish the importance of setting apropos expectations. I’ve found this to be KEY when reviewing indie films, and I’ve always found it allows for the greater comprehension and absorbtion of what is imperative to manifest a good piece of cinematic art…characters and stories that manage to capture you, keep you, and elicit what one hopes is an emotional investment and relatable, accessible air that speaks to our humanness in a tangible manner.
Hence, when this gets applied to the 83-minute feature film from writer/director/producer/cinematographer/editor Anmol Mishra, there is no doubt of the passion project it represents and the authentic, creative, grass roots fashion in which the intended exploration of how people process the concepts of love, loneliness, commitment, and the obstacles thrown at us (both touching and tumultuous) fully genuine and wholly grounded. Through the narrative that sees this all through the eyes of six very unique and varied people, the intertwining of their paths, and the subsequent results that come from their personal searches for true adoration, it leaves you with a very evident, innocently yet candidly transparent, realistic portrait of our innate nature when it comes to the intricacies of our emotive states of being in the context of finding that ideal someone.
But, what then sets the film apart from the artistic standpoint is, like many a Bollywood film for lack of any other more direct, foundational comparison, the wonderful utilization of multiple dance sequences throughout the film that serve to enhance specific scenes and further cultivate the purposeful atmosphere of learning, longing, infatuation, heartfelt dedication, and heartbreak. The dances are executed with superb precision and it only makes them even more worth employing in the film. The variations of each character’s personalities and reactions to their given circumstances as they slowly come together and maneuver their way through how they feel for one another is likewise delivered with a solid mix of comedy and drama, which keeps events unfolding in a consistent pacing and level of viewer involvement. Again, it presents a believable look at our behavior while adding all the entertainment value to things as well. Smartly conceived.
Visually, the film is, at its roots, very uncomplicated and basic. BUT, it then elevates itself with the dances which carry a stirringly poetic and effectively atmospheric tone to them, plus the additional music score being used melds together smoothly to lend a more “theatrical” ambiance while still remaining conspicuously true to the film’s indie “heritage” as it were. Thematic forays that address the ups and downs of expressing ourselves to someone we are attracted to, the “sound” advice we try to offer others when it comes to the chasing of love, the sense of how swept up we get when experiencing those first real moments with someone, the work it takes to actually build a relationship, the sometimes harsh realities of not always knowing someone as well as we thought, the awkwardness of intimacy in some clashing (more in comedic ways) with the overt boldness of others, stereotyping, and overcoming our fears all get time here impactfully and practically.
As if Mishra didn’t have enough involvement with the creation of this film, like effectively taking on most of the primary production aspects himself, we can add actor to the list of credits as well thanks to his role here as Sachin, a completely affable but idealistic, naïve young man who works at a local Sydney antique shop, a somewhat thankless position that sees him having to deal with (hysterically) rude and ignorant customers. However, when his stars begin to change upon meeting a beautiful woman, will he be able to step up and make things work for their budding relationship? His shy reserve yet totally endearing demeanor may or may not work for him with her, and watching how Mishra guides the character through this sea of emotions is charming, playful, and attention-grabbing in the most wonderfully credible and fun ways.
Hayes likewise provides us with plenty of material to laugh at but also empathize with when it comes to the character he plays, George, a man who presents himself to others around him in a certain way that seems both creepy and hilarious at the same time. Yet, he is a man with a particular secret that no one is yet aware of, and would most likely cause anyone who finds out have their jaw drop to the ground. Even as George is basically putting across his primary attitude that may or may not actually BE who he truly is while also trying to work up the courage to take a step that’s LONG overdue, he wishes to see others like Sachin happy in newfound love, and it’s this warring state of being George is facing that Hayes is able to tap into so well, again providing us with both chuckles and concern towards his character….and root for him, too.
Chan is a complete riot, definitely eliciting a WEALTH of guffaws throughout the film thanks to an airy, whimsical, and delightfully offbeat performance as Lilli, the manager of the antique shop that George and Sachin work at and who seems rather uptight at first, but MORE than loosens up as the story advances. Her no-nonsense approach to her work and towards her staff could be belying what she is really experiencing on the inside, a frustrated magnitude of romantic isolation that just wants to BE noticed and cherished again. Her seeming lack of real options in this area is what gives this character both a plaintive and uplifting stance on her current state of affairs. As with the other cast members here, Chan I felt shows that she utterly relished playing this character, an exercise in both fierce independence and veiled vulnerability that is so deftly and entertainingly conveyed through her performance.
Richter is a picture of inescapable beauty, determination, but also fragility in heart, mind, and spirit through her turn here as Elisa, a dancer from Germany whose current situation in Sydney has left her derelict in both literal and figurative ways. Only wanting to immerse herself more in the arena of dance that gives her existence joy and purpose, a random night in the aftermath of some unanticipated turmoil brings her into contact with another soul looking for something positive to come about in his life. The two bond and soon begin to date, though whether the legitimate bedrock of a lasting relationship will form becomes the question at hand, even as Elisa regales in the passion the two share, that “honeymoon phase” that potentially spells an ending rather than something forever. The sheer charisma and appeal Richter offers through this character is a palpable force, making Elisa someone you cannot help but fall in love with yourself.
Dowling and Long work in tandem and individually here with skill and energetic, affecting purpose through their roles as Alex and Zac respectively, the only pre-existing couple in the film and who appear to be that ideal blueprint showcasing the “perfect couple”. Joined by love of dance and gymnastics, the times they spend pursuing their own endeavors with full abandon and raw vitality is only matched by the equal amounts of this they demonstrate when together. Yet, is what we see but a shiny veneer to what is really occurring, or are they as deeply in love and committed to one another as everyone else believes? It adds the sense of tension and uncertainty to not only their story but even to an extent the others’ as well, with Dowling and Long so adeptly portraying this exemplary relationship everyone else wants….right?
Supporting turns arrive from Aileen Beale, Roxanne Azoory, Ron Coker, Simon Crawley, Penny Day, Shu Yeung, and Petal the dog. So, in total, “Romancing Sydney” gives us simple yet noteworthy depth of emotional resonance while being a rendering of what it is to pine for love, seek it out, encounter its windfalls and stumbling blocks, and discover whether you can make it endure, all wrapped in a vibrantly dance-filled dramedy package.
STAR RATING (OUT OF 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
