WATCH THE TRAILER HERE
First, the Recap:
Filling the void. When there is a hollowness within us that searches for anything to embrace and replenish that which was lost, we as human beings can often decide to take drastic and/or damaging measures to satisfy the need for completeness. Yet once choosing to go down that broken road, are we able to come out of the dark? Reeling from loss and a now-splintered soul, Astrid (Rebecca Martos) struggles to find self-worth and any sense of true sentimental association with anyone. However, the pain and unsettled state she encounters only pushes her into utilizing random, wanton encounters with equally random men as the “cure” for her inner turmoil, unwilling to allow deeper involvement than the act itself.
Also attending a local AA meeting, Astrid drifts between fellow meeting member Matt (Jason De Beer), then even tempts a married man, Mark (Daniel Deutsch), at a restaurant. With each encounter, though, the toll it truly takes on Astrid’s recognition of who she even is anymore becomes painfully and weightily apparent. Keeping constant distance from others still so as not to be in any “danger” of being vulnerable or transparent, even the attempted encouragements of best friend, Maddie (Olivia Sharpe), and a bar fly, Mike (Nicolas diPierro), ultimately fall short. Finally, after the conversation with Mike takes an unexpected and highly volatile emotional turn, Astrid retreats to where it all began, the ending—unsure.
Next, my Mind:
New York-based writer/director/producer Penelope Lawson’s 10-minute exposé on the fragility of a tattered spirit and the choices of how to cope with it certainly earns its stripes as a no-holds barred, completely adult-oriented, blunt force combination of morality and cautionary themes wrapped into one edgy, somber narrative. Yet, even with the dark tone and moody execution, the viewer might still find themselves ultimately feeling for the lead character’s tortured plight, able to perhaps recognize that under the candidly brusque dialogue and shameless attitudes/actions portrayed, it’s very much a potent illustration of a desperate heart crying out for rescue, trying to alleviate the numbness of losing someone deeply loved. The stark cinematography helps to emphasize Astrid’s internal war with intent and purpose throughout the film.
Martos assuredly owns the character of Astrid, infusing her with such a deeply seeded root of anguish, anger, cold apathy, and total loss of real bond with the world in the wake of a tragic circumstance. Yet, again, Martos still effectively manages to give us glimpses of the Astrid who wants to be helped, even if surface actions don’t reflect it, in moments of rare, quiet reflection upon decisions made, which in turn becomes the burden to confront in accepting events that have transpired to cause this downward spiral. Solid supporting turns are provided here by De Beer, Deutsch, diPierro, and Sharpe as key figures in Astrid’s path, for good or ill, while additional cameo appearances are made by Melissa Johnson and Travis Mitchell.
Overall, “Numb”, with its harsh language and thematic element of sex as a coping mechanism might not be for everyone, just being frank. It isn’t usually the general type of story this reviewer prefers either. But, it must be acknowledged that it IS the very unvarnished, undisguised nature of what’s presented that so often gives independent cinema its unique form and substance, willing to just put it all out there in the rawest way possible if necessary in order to shine a light on, or put a mirror up to, this thing we call humanity.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
