WATCH THE TRAILER HERE
First, the Recap:
Relational disconnection. While it might perhaps seem evident that this breakage in a newly formed bond between two people exploring their love for one another for the first few times might be somewhat commonplace, one would hope it doesn’t exist within the context of an established marriage. Yet for one pair of spouses, Maya (Minita Gandhi) and Jim (Michael Silas), it is exactly this juncture they find themselves wrapped up in, even as their overall goal is to maintain stability for the sake of their daughter, Ruby (Gabriella Mancuso). At this crossroads and teetering on the brink of absolute mediocrity and loss of freshness to their union, Jim and Maya seek out an irregular alternative to their dilemma which will either become an unlikely catalyst for the reigniting of their passions–or usher them to complete separation.
Next, my Mind:
As another offering that was a part of the “Manhattan Shorts” programming at the inaugural 2019 New York City South Asian Film Festival sponsored by Toyota USA, which specifically highlighted NYC-based filmmakers, this 21-minute drama from writer/director/producer/editor Chelses Venkadathu along with producers Gustavo Martin and Grishma Shah, made its New York Premier with a specifically unique bang via, for this critic, a decidedly provocative narrative that takes the general preconceived and normally conjecture-based notion of what lengths two parents might go for their kids, much less rejuvenating a marriage, and turns it entirely on its head. The chosen path the characters embark upon wasn’t necessarily the direction I was expecting events to go, and I can’t say I preferred it being taken down that road, but yet there’s simply no contesting the effectiveness of portraying anything considered taboo and purposefully exploiting it to elicit a “shock factor” response, whether mildly or blatantly, from the audience, which it certainly did for me.
There was an admittedly creative audacity in presenting this style of thematic exploration, not because it hasn’t in itself been done before, but because it just doesn’t follow what our minds (I hope, anyway) would usually see as more standard logic and–discreet–means for a couple to fix their partnership and come out of it stronger instead of total, more broken, emotionally compromised messes. The film deftly deals with concepts of jealousy, forbidden desire, and dropped (albeit hesitantly and full talked over) inhibitions, but I will say it’s all done with a tasteful execution that makes the actions taken by Maya and Jim more evocatively alluring and almost innocently voyeuristic for the viewer, as we know we’re really just attempting to root for this couple to mend the rift in their marital bond and therefore maintain a solidly founded base to provide a good example for their young daughter. But, again, even by the film’s somewhat unnerving finale that still leaves you wondering what their future may (or may not?) end up as, it’s that uncompromising nature of indie cinema to present its subjects unapologetically and allow it to speak its messages to each viewer however it wishes. That’s artistry folks, and despite my personal overall reservations about the grander scope of what’s portrayed here, it’s indie filmmaking at its avant-garde best while still managing to remain grounded and human.
Gandhi brings a wonderfully attractive combination of factors to the table in her role as Maya, who demonstrates both an inkling for being the straight-forward, devoted wife and dedicated mother to her daughter she is, but then turns around and showcases what an independent, totally sexy woman she can be as well, and this fits the story to a “T” as Maya makes choices with Jim that they, initially, reluctantly agree will somehow save a marriage gone “dead”. But, even as Maya takes on this agreed proposition, the actual acting upon it becomes a sticking point within her mind. When the time comes and she’s in the midst of it all, there is a definitive rediscovery of what she’s wanted to be rekindled in her union with Jim, but one still ends up wondering what the real cost might be despite her willingness to accept what’s happened and return to a happy home and family. Either way, it’s a mesmerizing performance by the vibrant Gandhi who is both softly vulnerable and fiercely intense in her delivery of this role.
Silas adds the more “thinking man’s” atmosphere to the effort through his playing the character of Jim, who like Maya, is a level-headed, average guy who also wants nothing but the best for his marriage and his treasured daughter. But, he also becomes more the one to proactively seek out the methods by which the couple’s life might get an injection of fun and newly-hatched excitement, but through an idea that causes more than a little moment of pause for Maya, though he seems more immediately open to it, not out of some perverse sense of self-gratification in his mind, but more perhaps out of becoming an involuntary example of how many of us as men kinda do think in certain ways and can rationalize the ends to justify the proposed means? But like Maya, once Jim is into the moment they have come to in their experimentation, he has to deal with the ramifications in his own mind, even with Maya’s supposed “approval” intact and talking it through afterwards. It’s a strong performance Silas puts forth to be both manly, yet emotionally pregnable.
Key supporting turns are brought by Sal Velez, Jr. (who also served as an associate producer on the film) as Thomas, one of the elements involved with Maya and Jim’s “let’s reconnect in new ways” project, Domenica Biondolillo as Thomas’ paramour Nina, another prime player in the “game” being enacted, and Mancuso as the couple’s endearing, totally adorable daughter Ruby, whom they are ultimately doing this all for. An additional appearance is made by Jeanne Scurek as Tina. In total, “Ephemera” is a candid viewpoint of two people desperate to decide what it actually is they want, while not wishing to lose touch with who they are in the process.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
