WATCH THE TRAILER HERE
First, the Recap:
The idyllic life. A beautiful illustration that expresses the attaining of everything one might desire to exist in contentment and peace–a home, a spouse, a relationship with its foundation firmly immersed in all love is supposed to be. The perfect world. Yet, for one couple, Kevin (Aman Singh Mukar) and Amy (Alexandra Rey), this blissful reality has been rocked to the core with news that now threatens to undermine all they had planned to complete the picture of serenity aimed for. Dealing with it the best they can, a business trip for Kevin ultimately gives Amy a moment’s respite to ponder it all. Upon learning a new, exhilarating truth, her excitement breeds a newly kindled anticipation for Kevin’s return home. But, will this be the arrival she desires or will they both face a departure unforeseen and irreplaceable?
Next, my Mind:
Another film basking in its New York Premier at the inaugural 2019 New York City South Asian Film Festival sponsored by Toyota USA, writer/director/producer Rishi Kumar and executive producer/actor Charles Daknis’ 12-minute short nimbly navigates what begins with a wonderfully placid, stable romantic tone that slowly and intentionally disintegrates into a much more emotionally harrowing, chaotic state, though does so with smartly conceived intensity that ensures the proceedings never fall into needless, much less predictable, overdramatization. Additionally, the effort maintains its course with wonderful pacing and constantly present sentiment both affecting and alarming as the narrative takes twists and turns this critic found perfectly effective and creatively executed. The moments of intimacy between the couple paired with the completely opposite reactions to news they receive that shatters their joy then back to happier revelations and beyond, the film’s final act is so well-played that the impact is unquestionably palpable.
What aids in the project’s constructive potency is an almost “Sixth Sense”-like utilization of visual imagery that enhances everything the audience witnesses as the story progresses to superb ends and allows us to remain wholly in the dark for just the right amount of time before certain elements begin to enter scenes that bring an abrupt questioning into one’s mind as to what exact path this tale is taking, which only heightens the anticipation for what the final reveal becomes and therefore collides with the viewer’s heart and mind like a ton of bricks and leaves you wholly satisfied. How the effort explores themes of family, hopes, dreams, disappointments, depression, elation, our longings and sensations when those we love aren’t present and we yearn for their return, and forms of loss is unique and engaging, a credit to the writing and overall direction of the film in delivering human drama on a level that’s relatable and grounded, which is as I continue to mention the undeniable beauty of indie cinema. Cemented with the film’s music score from Tyler Stone, it’s simply another complete package worth investing time to see.
Mukar becomes yet another example, for this critic anyway, of an indie film actor giving a performance that is understated yet so filled with an underlying, simmering intentionality that serves him so well in the role of Kevin, a hard-working middle class man whose sole desire we can tell is to be able to provide for himself and his wife Amy to the best of his ability and let that sustain their loving connection and goals to start a family together. When the situation shifts in a direction that subverts their intentions, Kevin continues to do everything he can to encourage and support his beloved, even as she struggles with the new reality. Having to go away on a business trip, the assurance he gives to her resonates deeply and eases the tangible air of anxiety. Throughout the effort, start to finish, Mukar elicits the kind of investment and support of the character by the viewer to truly first-rate levels.
No less can be can be said for an equally impactful and endearingly poignant turn by Rey in her role as Amy, a believably doting and yet strongly independent woman who likewise relishes the wonder of the love she has for Kevin and the life they’re building with each other. But, when a particular visit yields an outcome they never foresaw, Amy’s affable and graceful demeanor changes drastically, and coping with its ramifications seems to be taking her down a road to no real recovery emotionally or otherwise. But, upon Kevin’s departure on a business trip and taking time to reflect, the state of affairs alters again, this time bringing Amy a refreshed perspective, something she longs to share with Kevin. But, even as she awaits his arrival, there’s a strangely haunting series of events that brings an unease again. It’s a subtle yet deeply nuanced and stirring performance, and Rey utterly draws you into every aspect of her character’s journey with beautiful composure and bearing.
Supporting turns enter in from Frank Salerno and Daknis, playing key characters in the much grander scope of the story being presented. And so, in total, with its dramatic designs and more than solidly established, seamlessly presented themes on full display, “The UnExpected” plumbs the concepts of joy and pain, past and present, accepting reality, the formidable power of memory, and the realizations of how much we hold onto that which we love during good times or bad, and that sometimes, even in the harshest of occurrences, we might find a way through while still being able to cherish even when one gift might be attained and another taken away.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
