WATCH THE TRAILER HERE
First, the Recap:
Confronting loss. A subject that all of us as people know more about than we might wish. Unfortunately, it is an unavoidable aspect of our lives, and when it comes about, it most normally throws everything into chaos. In view of this reality, how we then decide to cope with it becomes the challenge to handle, the means by which to do so as varied as the situations that cause our grief. However, even when the pain is present, what occurs when it elicits a rather–unconventional–choice in how to move forward?
Two adult siblings–Elvira (Rachael Hip-Flores) and Jake (Jarrod Bogan)–are in the midst of both grief and a rather obscure conundrum. Their retired Navy Officer father has passed on, but while the loss is real, another actuality that defined him lingers strongly in the aftermath. Wanting to ensure their father’s spirit can be the “best” in it can be in the afterlife based on this factor, the pair embark on a mission to ensure, in their minds, this perceived “mercy” will help him be at “peace”.
Next, my Mind:
Dramedy takes a decidedly unorthodox direction with an intent that reflects both the baseline concepts of grieving and addiction with a bitingly bold yet affecting, definitively unflinching degree of comedic and provocative punch via this 22-minute indie short film effort from writer/director Anna Koukouli Born, producers Jonathan Akkawi, Ann Allsopp, Rolando Joseph Herrera, Melissa Turkington, and Molly Farrell White, co-producers Peter Kopecky, Neha Kotkar, Saurabh Kotkar, and Witold Siwanowicz, plus executive producers Stefan Born, Tulin Ozturk, and Jerry Sun. What makes the film such a marvel for this critic is that it manages to astutely and respectfully tackle very serious issues while also delivering the comical elements and scenario it does to boot–and does it with an execution that effectively touches your heart and your funny bone equally.
The narrative that sees two adult siblings having their major stresses about planning their father’s funeral that turns into a mission of admittedly hilarious purpose based on what they are recalling about him, it is a highly intelligent move here to have this get displayed in just the right amount of still-abbreviated runtime so as to allow for the viewer to learn about the circumstances behind the eventual and quite hysterical decision and subsequent adventure the pair embark on, WHY, and how it legitimately justifies their feelings towards a now deceased parent. As hinted at above, this is all addressed with due care, NOT in ANY way meant to make fun OF the pain of loss and its impact on those affected. It is more about being willing to look at the aftermath of certain compulsions a person had and how that shaped the family’s lives for good and ill, the reactions portrayed both ultimately heartening and humorous.
There is the reality of alcoholism that forms the center point of the grander narrative, and it is NO joke that the sway it has over someone entrapped within its grasp, much less the consequential hardships it creates on others, gets its time here. The need for treatment and genuine support for those suffering through it is likewise REAL, and something we should never just toss aside as “oh, the same ole, same ole” troubles some people face. BUT, I again give full measure of credit to Born for finding a course to take her film that ALLOWS for the entertainingly amusing instances to be present throughout the film in a manner that lightens the mood without sacrificing its objectives or muting the actuality of dependency and loss. Through it all, the film’s finale very much elicits a sincere sense of optimism and relaxed hope of pushing forward that perfectly befits the tale.
Varying coping mechanisms, the kaleidoscope of emotions being experienced, sibling disagreements, how we WANT to remember someone vs. how they may have ended up being in later life, even a rather witty exploration about speculating how someone passed are all other elements that get screen time, and once more, not with any intended disrespect to those core themes mentioned earlier. I applaud independent filmmakers FOR their ability to take even the hardest subjects and find a way to get even some jocularity from it or at least just a lighter sense of atmosphere for it to be taken on by. We need fresh ideas, and indie cinema excels at this in my experience. Hip-Flores and Bogan very much form a fantastic duo that gets plenty of opportunity to shine both together and individually through their respective roles as the embattled siblings Elvira and Jake.
Elvira stands as the one really attempting to keep it together and do things the way she feels their father would have wanted while Jake seems to believe that she is doing nothing but making the whole process harder to achieve, remaining skeptical and combative with her. However, once the notion arrives through Elvira that she feels will honor their father as only he would actually appreciate, at least in her mind, Jake gets on board and the two hatch a tricky plan to make it happen, leading them both to more deeply confront the truths about how they felt about him, what it means that he’s gone, and perhaps find a sense of solace and release. Both Hip-Flores and Bogan present strongly energetic and emotionally-charged volatility through these roles, doing complete justice to how the characters feel with comedic and dramatic timing on display throughout the film. A very worthy performance by each of them without question.
Primary supporting roles arrive first from Nicole Ansari-Cox as their mother Sarah, who more than makes it evident as to the total devastated state of being she’s in from her longtime spouse’s passing while attempting to both control her own borderline hysteria and bring a better level of unity between her children. It is another excellent performance that melds into the narrative with unpretentious strength and intent. Brenda Cisneros and Peter Rambo are Bruna and Steve, close friends of the family who get slightly caught up in the growing drama, whether funny or not! Additional appearances are made by Nancy Frazen, Marcus Rucks, Rashidi Jackson, Mark McCray, Andrea Rodriguez, Stefan Born, Melissa Turkington, Tyler Anthony, Hernán Angulo, Matt Betti, Helga Fontánez, and Rohit Thawani.
So, in total, “Angel” represents a more eccentric but no less persuasive, awareness-raising, definitively unique foray into the realms of mourning, enduring the accompanying sadness of loss, how we handle it, the acceptance of who we are and others are or were, the affect on our lives those circumstances have, and the choice to honor even that which we had contention with in order to preserve a lasting remembrance of what we ideally hope was more good than bad, here tempered by the importance the abiding love of family provides.
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
