WATCH THE TRAILER HERE
First, the Recap:
What is it to misjudge? In a time of greater social and political turmoil, the tendency to act out against others when it’s our own inner and outer struggles dominating the choices we make can be far too easy to engage in. So, of course, we then must ascertain a simple truth–can we admit our faults and allow it to alter our mindset for the better? It’s already been a hard day for one man named Bill (Justin Gabriel), as situations involving his job, relationship, and overall state of being have come crashing down on him. When happening upon a new co-worker named Noor (Jeremy Trevor Anderson) in their office and the activity he is engaged in, Bill’s unsettled condition sparks a confrontation, the outcome of which will reveal a startling secret and become a catalyst for Bill to re-explore his own ideologies, life decisions, and most importantly, absolution.
Next, my Mind:
Enjoying its New York Premier at the inaugural 2019 New York City South Asian Film Festival sponsored by Toyota USA, this 15-minute dramatic effort from writer/director/ executive producer/editor Eliezer Vergara, plus producers Asim Farooki and Theresa Pizinger, and executive producer Wajid Qureshi, makes its presence more than fully known with a narrative that addresses multiple, all-too-real, far-too-common factors existing in today’s world–low self-worth, unfounded prejudice, misdirected anger, baseless judgement, and the realities of us not taking the time to fully assess and understand basic differences between us and others that are not only good variances to have, but are often the makeup of what allows us each to be the unique individuals we are. Here, the concept is taken to a smartly written and highly arresting place where these notions begin to build up then explode in one sequence of conflict, which in itself then ushers in a major twist in the story that acts as a complete gut-punch moment, initiating an entirely new journey.
I feel it is totally necessary to showcase ideas like the ones presented here, as we can all more than admit we’ve had our own times of dealing with personal issues that then bleed out and, we hope unintentionally, end up impacting those around us, often to negative ends that could spark either further entanglement or, as this film chooses to do, lead us to a path of forgiveness, forbearance, and ideally a new realization of what is most important in the decisions we make and how we need to shift our priorities. Additionally, this film paints a clever portrait of stereotyping someone’s religion while also turning around and making a brutally blunt statement about cultural, religious, and familial traditions that will leave you shocked and appropriately shaken as a viewer, which should be the case, and why I continue to laud indie filmmakers for their willingness to not compromise when making a thematic point in the most straightforward ways like is successfully manifested here. Plus, the finale is one that is utterly apropos and fits the ultimate message being conveyed with beautiful resolve but in a way that lingers and makes you think, another mark of well-executed cinema.
Gabriel gives an emotionally convincing turn in his role as Bill, a regular guy living a regular life who suddenly finds himself in the midst of that normalcy getting upended in about every way possible, all at once. Choosing not to soldier through it, he does what so many of us would–allows it all to stir within, effecting everything he’s doing, until one moment arrives where he sees something, and someone, that becomes the sounding board for all his confined hurt, anger, and hidden bigotries towards others. The subsequent results of this run-in with Noor triggers a further revelation that utterly knocks Bill’s bluster down to the ground and causes a comprehensive re-assessment of everything he’s been about in life, the choosing to right certain wrongs and regain self-worth and dignity while also demonstrating a realistic act of what we all could do more of–humbly asking for exoneration. It’s a well-founded character, and Gabriel delivers it to us with energetic poise and resolution.
Anderson likewise provides a great performance, offering us quite a distinctive, insightful, and original turn for his character Noor, a new hire at Bill’s office who ends up on the receiving end of some less than appreciative, highly derogatory, offensive, and inflammatory remarks when caught in the middle of doing something in one of the office’s isolated rooms that Bill happens upon and takes displeasure in. Of course, unbeknownst to Bill, Noor is experiencing his own inner war that is ultimately revealed via flashback, and becomes Noor’s moment to lash back against Bill’s initial barrage of hate and sarcastic rage. The study of how Noor even sees himself through the eyes of his religion and the ramifications it had on the circumstances that will forever change him as well, and the coming together of this on top of having to deal with Bill’s resentments almost becomes his final resolution for his own unsettledness while being a part of Bill’s newly discovered road. Throughout, Anderson very believably draws us into Noor’s world with pure conviction.
Supporting turns are present in the film from Kezia Bernard-Nau as one of the men’s office mates Lisa, Linnea Wilson as Bill’s girlfriend Stephanie, Lucia Sawh as a key figure involved in Noor’s personal story, and Farooki as a character named Asim, another hugely impactful individual from Noor’s life. In total, “Fractured Souls” is a quickly-paced, wonderfully effective, purposely evocative, and ultimately redeeming short film that most certainly deserves a chance to shine and spread its relevant, timely message through the medium of an art form the indie community excels at. May we all find the ways in this tumultuous world we reside to not remain splintered in soul as the film’s title relays, but instead strive to be whole.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
