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First, the Recap:
Ever feel one hundred percent flummoxed? Discombobulated? Befuddled? Those times where it manages to come to your realization that something just isn’t making much sense, especially when it pertains to someone else or some series of events that we’ve always felt we had a firm understanding of and grasp on? So, in these mysteriously peculiar circumstances, what answers do we choose to seek? Or, do we simply let it all unfold under the shroud of bemused wonder? Let us take, for example, a particular lad named Abdul (Ziyad Saadi) who on this fine day finds himself standing alone on an equally isolated sidewalk confronting a man named Timothy (Alec Hynes) who advises him to expect three packages to be delivered on behalf of Abdul’s partner Rocco.
Mystified from the start and knowing only that it was intended for him to receive said packages due an apparent illness Rocco is experiencing, Abdul rolls with it as the first package arrives courtesy of the cooking obsessed Bee (Kathy Biehl), the contents of which throw Abdul into even more confusion. Ultimately unfazed, the subsequent packages arrive through the bridal dress-wearing Miranda (Gwenevere Sisco) and a kimono-wearing geisha girl Natsumi (Noriko Sato), each time the packages’ contents baffling, frightening, and exasperating to Abdul, more so when the final box indicates only the ominous yet “I dare you!” message–“Don’t Open Me”, made one degree stranger via an encounter with an oddball observer, Harpo (Julian M. Kheel).
Next, my Mind:
A full-on 13-minute journey into blatant eccentricity, unconventional irregularity, absolute oddness, and darkly whimsical quirkiness mixed with possible lessons in either total loyalty towards another you cherish or a deep betrayal through secrets left undisclosed until it’s too late, this short film effort from writer/director/producer/editor/actor Saadi certainly lets its definitively indie film freak flag fly, but in an undeniably, unapologetically, pleasingly cryptic and entertaining manner. Now, while some moments of profanity-laced dialogue weren’t of enjoyment to this critic per personal preferences, there’s just no getting past the fact that the narrative about one man’s love, faithfulness, and devotion to his absent partner in becoming an unwitting pawn to a somewhat baffling scheme (or actual show of requited adoration??) involving ever stranger packages with even stranger contents that may or may not paint a less than flattering portrait of his lover is quite hilarious and engaging, as it turns into a enigma the viewer just HAS to know the answer to.
Were the packages meant to unnerve or encourage? Was the final one and the test it engendered meant for one person’s protection or a deeply disturbing, shady goodbye? What’s with the ever-present specter that is Harpo the Clown and his penchant for causing more doubt in Abdul’s mind about everything that’s transpired and the true motivations behind it? Combine all this with the additional, beautifully simplistic, and irresistibly weird cadre of characters who aid in creating Abdul’s bizarre experience prior to this and you end up with this totally off-the-wall exercise in abnormality that sucks you in, leaves you scratching your head yet satisfied you just witnessed something that exists so far outside the mainstream it’s surprisingly enjoyable relative to any “normal” fare. Visually the film likewise maintains a completely straightforward, uncomplicated approach, which suits this film to a “T” with all its screwy zaniness, but there’s still fluidity in the images as the camera follows poor Abdul and his escalating impatience with the occurrences as his lonely sidewalk setting never changes and the visits by the package bearers taxes his very sanity.
When talking about an overall study in uncomplicated, understated yet effective and apropos performances, Saadi certainly fits the description in his role as Abdul, your average “everyman” who finds himself at the mercy of his ill boyfriend’s will via standing like a fool on a remote sidewalk waiting on the delivery of packages he’s been promised. Yet, as this takes place, his ideas about what exactly is going on with the items he receives provides him no answers and even vaguer notions about what Rocco is really about and perhaps what their relationship really means. Constantly asking the package holders why he’s getting the objects he does, Abdul is only given standard “you were expecting this to be delivered so you should already know” responses along with well-wishes from each person for Rocco’s recovery. At the end of his rope by the third delivery, Abdul then gets “accosted” by Harpo who only aggravates the situation with comments that throw Abdul into a state of uncertainty. Once the final reveal is made, however, and a consequence of this comes to pass, it all seems to come together in Abdul’s mind, even if not ours! Throughout, Saadi remains consistent and solid in presenting the character’s dry humor and frustrated demeanor.
Supporting roles arrive via Hynes as Timothy, the initial herald of things to come whom Abdul unsuccessfully to get further information from, Biehl as Bee, a calmly harried, spookily happy, mildly unsettling cooking-obsessed housewife who delivers the first package, Sisco as a bride-to-be (or possible bride-that-never-was?) with mascara-stained eyes and an otherwise eerily panicked manner who delivers the second package, and Sato as the fully stereotypical oriental girl Natsumi who brings the final package, which comes with the film’s title warning, but remains mum to any questions Abdul asks about it. Finally, there is Kheel as Harpo, a man in a clown suit who more than harasses Abdul and tempts him in every which way to open the forbidden box while instilling every possible doubt in Abdul’s head as to why all of this has been happening and emphasizing over and over the fact that Rocco made sure he wouldn’t be present for any of it. Each and every actor enacts their role here with playfully muted exuberance that showcases why it doesn’t always have to be deeply dramatic or overtly over-the-top to provide fun characters.
In total, “Don’t Open Me” stands to have a multitude of opinions as to what precisely the film is supposed to be about, many interpretations and takes on it I’m sure will come around. Is it about relationships and trust? Is it about how gullible we are as humans beings to claim we know someone inside and out but really find out we don’t? Is it a film meant to just be some absurdist bit of dark whimsy? Regardless, let this not distract from the basic fact that this is independent cinema at its low-budget, accessible core, and there’s still a lot to be said for anyone who’s made a movie, persevering for their passion as a filmmaker, putting it out there for opinions to be formed, and ideally having the opportunity to shine in the growing arena the genre as a whole is building and sustaining.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
