WATCH THE TRAILER HERE
First, the Recap:
There is pain in watching that which you’ve known and cherished for so long come to an end. While we might choose to acknowledge that the actuality of this scenario will happen in life, ideally not more than we already expect, it never lessens the impact nor the memories which arise when we truly dig into what’s being put aside, reminding us once more of what’s most important to maintain. Isabel (Alex Felix) and her mother Lucia (Arianna Ortiz) are in this place via the family camera shop once run by beloved father and husband Hugo (Juan Francisco Villa). As the pair sift through what is left, Isabel’s side project she’s been attempting to work on through the chaos of closure will elicit a series of moments shared between her and her mother that will redefine all they are, and potently illustrate the necessity of moving forward.
Next, my Mind:
It’s a full immersion into the poignant and oft overwhelming strength of treasured memories paired with the accompanying emotional desperation of both present and pending loss that fuels this 13-minute Oscar qualifying short film effort brought to vividly weighty and affecting life from writer/director María Alvarez, writer Ethan Newmyer, producers Taryn Nagle and Po Wei Su, plus executive producers Constanza Castro, Domenica Castro, Naomi Funabashi, Rishi Rajani, and Lena Waithe. As one of four particular indie short films this critic is having the opportunity to review from the prolific and NEEDED engine of genuine creativity that is the “Rising Voices” initiative powered by Indeed Films in conjunction with award-winning production house Hillman Grad and 271 Films, the effort stands as a strong testament of precisely what level of talent IS out there to be tapped amongst the indie community–and these ARE voices that SHOULD be HEARD.
In the narrative presented, we are privy to the final day of a family-owned film processing/camera store that has already suffered one major loss and now stands on the precipice if its final day being open for business, even while the remaining two caretakers of it are now truly confronting the reality of what it means to them and the legacy being left behind. While the grander context of the events depicted are decidedly different in their foundational content and circumstances, this critic still couldn’t help but draw certain comparisons to the feel and tone of “The Little Shop Around The Corner” (or its more contemporary remake “You’ve Got Mail”) in that the heritage of small, individually owned businesses and the loyalty of customers who stayed with them regardless of newer or larger options remains at least a facet of what is being conveyed here, and IS addressed quite powerfully in underlying instances that unfold over the course of the film.
Primarily, though, there is a more acute center of attention the narrative hones in on, which is not just the burden of encountering a lifelong endeavor coming to an end, but also then facing the denial of it, the hurt of not being whole, and the striving by one person to salvage any sense of HOPE in having to do the hardest thing any of us would need to accept–letting go and moving on while still nurturing thoughts and recollections that illustrate the BEST and HAPPIEST of times experienced together as well as EMBRACING what we will maintain between us AS we proceed. What I love is that the film doesn’t remotely come across in a manner that says ANY of this is EASY. Quite the opposite, the conflict and high levels of both simmering and boiling over volatility displayed very much cement the concept of unease they’re intended to but still do it with realistic punch that draws on your sense of empathy to excellently engaging degrees.
As I consistently state about what indie film offers–IT IS RELATABLE and allows you as a HUMAN BEING to empathize with what’s provided, which is also what makes this film’s beautifully executed finale yet another that is filled with absolutely profound, emotive force and associated release. Felix employs a purposeful mix of subtle and evident energy to her performance here as Isabel, a young teen girl who’s already having to handle an existing magnitude of grief which is then being compounded by also being a part of watching her family’s longstanding and respected camera shop business closing its doors. But, even in this, Isabel has been working on a means to hold onto all that’s been thanks to a dogged, undeterred will to see a side project come to fruition, despite the protestations of her doting but weary mother whose also attempting to endure all that’s transpired to bring them to this point.
Watching as Felix guides the character through all the stormy seas that ultimately ushers in the catalyst which will transform a mother and daughter’s fracturing relationship as well as bringing at least the start of healing both require is simply compelling and convincing to witness thanks to the actress’ wholly believable performance. In a similar way, Ortiz lends an initially different but still so deftly impassioned level of gravitas and heartbreaking actuality to her role as Lucia, Isabel’s mother who we can immediately see has reached the end of her rope emotionally due to all the events that have occurred and are culminating with what she appears to be hanging on to as the last sense of support and purpose her and Isabel have left while being in a state of utter nonacceptance of it all, which sometimes she unintentionally takes out on her daughter.
Yet, even in their moments of personal differences and attitudes, the moment it all comes back together is what provides the narrative its true effectiveness, and how Ortiz navigates her character’s own turbulence that then gets tempered by the re-awakening she AND her daughter come upon is perfectly brought to credible existence in the actress’ performance just like Felix. Supporting turns are present through Juan Francisco Villa as Hugo, Lucia’s husband and Isabel’s father whose legacy and heritage they are so wanting to protect in head and heart, Reggie P. Louis as Anthony, a longstanding customer of the shop who drops by and evokes memories during his visit, Sofia Grace Clifton as the younger Isabel via flashback when her teen counterpart sees video images that harken to her childhood joys with her parents, and Po Wei Su as a delivery man.
So, in total, “Last Days of the Lab” is as much an exercise in the importance of parental bonds, mending brokenness, being there in total support for another in time of need, and ensuring that what is carried onward is the BEST of who we are TOGETHER as it is about the strain of loss, the need to exonerate ourselves from the hurt, acknowledge the truths we’re resisting, and rediscovering the unconditional love of family, allowing the portraits and pictures we carry via memory to be endearing instead of polarizing.
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
