WATCH THE TRAILER HERE
First, the Recap:
A portrait of the disheartened, the rejected, the misunderstood, other human beings. We are a culture set in our ways, some to the mutual benefit of all, others to quite the opposite, certainly when it comes to finding the means to disagree or act out of sheer fear without shameless, brazen resentment attached to it. We then must be willing to ask ourselves–is trying to openly spout embittered diatribes or taking hostile actions against that which you don’t agree with truly worth the price of your very soul? It’s a neighborhood like any other–or is it? It is still daytime, and a “couple”, Paul and Linda (Gary Hilborn & Julee Cerda) make their way happily down the street, soon stepping up to the front entrance of a certain home.
Their arrival brings another “couple”, Scott and Val (Jim Newman & Judy McLane), to the door where Paul and Linda are greeted warmly, smiles and pleasantries exchanged, and an invite inside where the four best friends sit down at the dining room table and after somewhat pensive yet excited glances decide to begin. The conversation covers a multitude of subjects, normal and pleasurable, day to day life, et al. However, it soon becomes evident Scott is no longer amused, interrupting the group’s dialogue with a sudden reality check that reveals the fact none of what they discuss, dream, or desire to do can be made known to anyone but themselves. Welcome to the world they inhabit in the aftermath of a gay purge, where disclosure and openness spells imprisonment–or worse.
Next, my Mind:
It’s the anatomy of misguided judgement against others, fear of what is not understood, the anger and resentment of the persecuted, loss of freedoms, the need for a return to what it is to simply be human, and the ultimate cry to be who we are without prejudice that permeates this 15-minute indie short film effort from director/producer/editor Cheryl Allison and writer/producer Gregory G. Allen, putting an all-too-fine point on the make up of hate towards a minority and those who feel it is their place to impose a smothering will upon them as a means of control and overwhelming dominance, with the only other “solution” being absolute suppression. It’s a candid, visceral, blunt statement aimed to wake the viewer up to these notions and likewise paint a portrait of what happens when standing up for what you believe can still lead to less than ideal endings, which the finale of this film assuredly accomplishes with a potent, affecting, yet brutally heartbreaking weight, exposing the reality of what these characters are experiencing.
Such overt malice has taken on many forms over the course of history, and the particular emphasis here remains specifically on the gay community which, while not in itself one of my own personal favorite overall thematic explorations to absorb, is portrayed here as several character-driven narrative films focused on this topic, short or feature, I’ve viewed have successfully done–made the overall premise and message not some “preachy”, embittered harangue or forceful proselytizing, but rather a strongly confident, undeniably bold, but poignant, soul-striking statement about the actualities faced by minorities and the perhaps not so far fetched hypothesizing about their fate if abject enmity is not done away with sooner than later in this society. Sometimes, films of this grander aim and style can somehow end up concentrating more on the oppressors, hence there is often no actual perspective of how this animosity truly affects the oppressed. But here, this is not the case at all, as the effort beautifully, intentionally, and deftly displays the exact plight of those being afflicted when it’s revealed exactly what these four friends are gathering for, why they do, and how it arrives at the boiling point that drives the core of the story. It adds that necessary essence to the tale that makes the aforementioned finale all the more impactful and memorable.
I’ve mentioned this next concept countless times before, but hey, truth is truth. Indie dramas thrive on (require, really) the importance of not just solid writing to engage us as the viewer, but also the requisite casting that allows the characters being presented to likewise pull us into the narrative and remain both attached to and emotionally connected with them throughout the whole film. For this critic, what can be even better is when it goes beyond just individual performances, but rather the power of a well chosen ensemble, which is what I feel is found here with Hilborn, Cerda, Newman, and McLane. They all do such a wonderful job at making us believe in who they are together, both as “couples” and couples, as well as true friends who’ve found themselves in the heart of an overly harsh world where their lifestyle is not just frowned upon, but a punishable crime. Yet, they carry on with their planned weekly activity, being in hiding notwithstanding, and take the risk of being exposed for the sheer sake of being able to sustain connection, find affection, feel “normal”, and at least have some semblance of a life. Yet, this “peace” is interrupted when Scott finally reaches a state of agitation over the “false” nature of their associations and clandestine “dreams” they enact in the outside world while only able to let the real impact of what they’ve actually lost be brought out in hiding.
Watching the devolving of their joy is quite arresting, and as it builds, it leads to the key moment that will forever change the dynamic of their personal relationships forever. Now, please don’t get me wrong in making this blanket statement about these actors as a unit, for each still brings their own level of intense passion and grounded enactment to their respective characters. From the more carefree attitudes, at least on the surface, of Hilborn’s Paul and Cerda’s Linda, two people who we can tell relish this weekly opportunity to “disappear” from the prying and ruthless eyes of those who would have them, possibly quite literally, put down, to McLane’s Val, who like Paul and Linda, carries an even more excited manner when it comes to knowing what their meetings entail, with chances to physically and emotionally connect with one another the way they desire to, putting away facades and relaxing for a little while, but who also allows the pressures of the group’s sudden conflict to guide what becomes a rash action, to Newman’s Scott, who plays along as usual with their “game” until finally getting fed up with the “truths” they share about, knowing they cannot happen without severe consequence, the fantasy it represents getting the better of him, which is the catalyst to events falling apart. All of this is played to very solid levels of believability by this cast, especially during the wrenching finale that allows them all to emote to acute and highly profound degrees that leave a lasting impression.
In total, regardless of what your own general opinion might be about the primary theme presented, “Hiding In Daylight” becomes another powerfully transfixing short film drama that finds a way to make its point while transcending it at the same time, illustrating with pure conviction the devastating influence of hate, and further reminding us of precisely why it is a way of thinking that needs to be quelled for the sake of humanity before it’s simply, incontrovertibly too late.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
