WATCH THE TRAILER HERE
WATCH THE FILM HERE
First, the Recap:
To give yourself away. In a world where it seems lately that everyone is out for themselves and could truly care less about their fellow man, the concept of offering who you are for the sake of others seems like a foreign notion. When finding that place where what you do have to extend to satisfy the need of someone else actually provided one’s fulfillment as well, does this not equal contentment? Or does it instead shine a harshly revealing light on what is really hiding within our own sense of self? Take for example a woman named Carly (Maddy Murphy) who occupies a large majority of her days each week “freelancing” around the locale she calls home, New York City.
As such, it takes on the form of visiting random men who call upon her due to a special skill she possesses–the ability to aid them in experiencing for real the specific yet strangely indiscriminate, offhand “needs” they desire at a given time. Whether it is Maurice (Ivan Greene) who deals with a rather unsettling enactment he wishes to explore, Greg (Keith Boratko) who is simply “in it” for physical pleasure though genuinely enjoys her company, Randy (Zach Abraham) who seeks out a peculiar form of validation through their interactions, or Ben (Timothy J. Cox) who seems more than just another client, even if professing a rather one-sided love, Carly caters to all their whims yet questions not what they gaining through her, but rather what she is–or isn’t.
Next, my Mind:
A healthy dose of melancholic drama, heartbreaking transparency, beyond-the-surface explorations of the ways we choose to see ourselves through the medium of what we choose to strive for and accomplish, and the potential emptiness and growing needs within us that can arise because of it all, this 19-minute indie short film from writer/director/cinematographer/editor Matthew Kyle Levine wears its inner turmoil on its sleeve while presenting a narrative about one young woman’s weekly “jobs” and the actual toll it’s taking on her. On one level, the character’s journey could be seen as a grander statement about contemporary society and relationships, where everyone is only focused on their own ideas, well-being, and needs rather than considering anyone else’s in the process.
The road to obtain personal acceptance and acknowledgement in itself can be a very worthwhile endeavor to pursue, but here it is almost portrayed as an illness in that those who are having these rather eccentric, sometimes flat out disturbing, requirements brought to reality are ultimately selfish in their actions with Carly, even despite her being there for each of them by choice. The more she engages with these men, the less sincere satisfaction she gets from it, soon causing her to pause and wonder what it has all brought her other than being used or devalued, a sounding board for men’s insecurities, even perhaps being a de facto “crutch” for them to lean on in order to feel better about themselves at the cost of Carly’s own worth as a person, having her own desires to have her needs met and at least be told she’s truly appreciated.
I believe this ends up being the plight of anyone who makes daily choices to give and give and give, not necessarily expecting as it were to receive anything back for it, yet yearning for exactly this within, being seen yet not seen as a person of worth. This distinctly comes across throughout the film as we witness Carly’s quandary, and as mentioned above, it stirs in the viewer of mix of high empathy for her yet not, depending on whether she really is the way she is by the nature of her “jobs” or by the sheer reality of the choices she’s making and simply not wishing to accept the fact the way she feels is very much self-inflicted. Visually, the film is very straightforward, as is often the way with indie film, and rightly so, as the focus needs to be on the story and characters. But, the images are clear and fluid, while the overall pacing is equally flowing and keeps the viewer invested in Carly’s tale.
Murphy exudes calm innocence, hidden yet evident inward storms, and a burning consternation throughout the film in her role as Carly, a beautiful woman who’s “work” is to be on call for random men who invite her to help them deal with their own hang-ups via various coping methods they’ve arrived at and play out with her. From the beginning, it seems like a thankless life, yet somehow Carly aims to find her own satisfaction from it all. Yet, the more time that goes by, no matter what “positive” outcomes she encounters with her clients, it begins to show its wear and tear on her soul, bringing about a questioning in her as to when anyone she visits might finally tell her something good about herself rather than only remaining self-focused and taking from her what she brings and that’s that. With Ben, there appears to be a connection, but not one she is willing to explore despite his pleas, giving the impression he’s more a business partner than potential romantic partner, which he longs for and she clearly doesn’t. It’s almost an amalgamation of female empowerment and overt inner isolation being exhibited, and Murphy so beautifully embodies this dichotomy in her performance with affecting ease.
The supporting turns are provided by the men this time around via Greene as Maurice, a man with a rather disquieting fetish he desires to traverse with Carly’s aid that most definitively backfires on him, Boratko as Greg, who wishes only to have the seemingly quick experience of physical intimacy with Carly, though he does also show he’s at least partially interested in her beyond this, and Abraham as Randy, who just wants to know what it is to have everything be about him and his need for overall sense of being wanted or cared for without having to reciprocate it, which becomes a potently pivotal moment in the film’s final act when it comes to illustrating how this all affects Carly’s own perception of self. Finally there is character actor extraordinaire Cox as Ben, the most enigmatic of Carly’s cadre of men she caters to who might be more involved with her than meets the eye, even as he plainly has deep feelings that are voiced yet unrequited, making one wonder exactly what his role is in her life and activities, as always well-played and filled with resonance as only Cox can deliver in his signature style.
In total, “Miss Freelance” stands as a serious, solemn look at the state of being this kind of constant exertion to please others without allowing for anything deeper than surface satisfaction being the reward births within a person’s awareness of self and the emptiness of being underappreciated and longing for validation created due to it. What makes this impactful is that it also reminds us that sometimes, so much of said inner hollowness comes of our own volition, not being willing to stand up for what we want and need, instead just becoming a doormat for others to step on, the choices made by us notwithstanding. It seems something better to overcome than allow to manifest into a monster we can no longer control.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
