WATCH THE TRAILER BELOW
First, the Recap:
Transgressions, misdeeds, and trespasses. Can we not, as the oh-so-“perfect” beings that we are, find any myriad of ways to step upon others and their feelings? While it’s certainly a given that there will be more than a few instances where disagreement and varying opinion enters the scope of our relationships and friendships, it still begs the question–why do we so many times allow it to taint (or perhaps REVEAL) our, and others’, oft hidden pettiness, ignorance, or just plain indelicacy? Plus COVID-19 on top of it all??!! Whether in the breakroom at the office amongst co-workers Liz (Venetia Twigg), Henri (Sheri Sadd), and Cora (Melissa Saint), at home with marrieds Jon (Andrew Troy) and Kate (Olivia Bernstone), or at an orchestra pre-performance confab between Sable (Marianne Benedict), Rosemary (Raychel Addo), and Jan (Natalie Hones), this question SHALL be quite decidedly on display!
Next, my Mind:
I must first confess that when I was offered the opportunity to screen and review this 30-minute short film effort that arrived courtesy of writer/director/producer Will Nash and co-writer/executive producer Venetia Twigg and saw the project’s title, I was filled with initial trepidation that I was in for one overtly profane ride that potentially might not have ended up in my wheelhouse of cinematic viewing pleasure. However, how excellent was it to discover that, while sure there are some off-color language/moments scattered about, what we’re actually entreated to is an exploration of the wonderful, ever-shifting realms of human behavioral vices, placed in the setting of our interactions with others and the situations that can tend to bring out the worst in us, whether we wish it to or not.
Intelligently separated into three individual, roughly 10-minute vignettes (an anthology style execution, if you will), it becomes all about certain circumstances between several small groups of people that strive to illustrate thematic turns highlighting elements akin to the film “Seven”, minus all the insane levels of hardcore violence/gore and possessing a MUCH more light-hearted approach without sacrificing the raw, candid, satiric, wry, and often playfully entertaining absurdity intended. What might scare you more as the viewer is exactly how RELATABLE and TRUE these exhibitions of flawed mindsets and misguided actions ring within, assuming we’re willing to BE that honest with ourselves. It’s what I always adore about indie film, how it can BE so accessible while remaining so much FUN, which this film firmly provides plenty of.
Portraits are painted that start by showcasing the pitfalls of avarice through the sequence entitled “Breakroom Bitc#$!” where that always controversial subject of greenbacks once again rears its ugliness. We then move forward into the volatility of idleness and the “truths” our minds can allow us to stumble into believing (or IS it all true??) as witnessed in “DoDo”. Ultimately, it’s the potent destructiveness of the green-eyed monster in “Symphony”, where a battle of wills ensues over a certain coveted position of power and the means to arrive there manifesting via catty, strong-willed banter. But, while these things may in and of themselves (hopefully!) NOT be what we should aspire to, here it is so deftly played for comedic impact that one cannot help but be drawn into the silliness and find many, many great laughs thanks to that mix of dry and blatantly ridiculous British wittiness.
Additionally, the entire affair manages to take a completely unflinching, but still hilarious, poke at specific aspects of the ALL-too-familiar COVID-19 pandemic, smartly weaving them into the narrative tapestry during each segment. It brings about that small dose of present actuality while taking on grander, and very serious, topics like mental health, what we believe in, how we wish to control others, the pains of unsolicited advice, our lack of self-confidence masked behind a façade of self-importance, and other veins of rational and irrational thinking we’ve all experienced. Again, it makes the film so approachable while being beautifully quirky and wholly amusing. Plus, the hybrid nature of how the film is visually shot, looking like both film and stage in its layout, really gives it a uniqueness that resonates within the COVID-19-based world it was made in, location-wise, acting-wise, and overall production-wise. It’s a further testament to filmmakers being unwilling to allow the pandemic to shut down their creative drive and spirit. Bravo!!
This almost exclusively female-centric ensemble cast was simply brilliant to me, as I love the manner in which the ladies are able to offer the very necessary tones, manners, and demeanors that so magnificently suit each plight being shown. Sadd’s very straight-laced, logical thinking Henri clashes so wonderfully against Liz’s gleefully, unfeigned rapaciousness as played with excellence by Twigg and the pleasant yet no less manipulative tactics Saint’s Cora so perfectly exudes in spades. Bernstone’s hilarious, “I’ve been cooped up WAY too long”, heavily saturated-with-misinformation-minded Kate likewise compliments the more grounded-in-reality, still rational husband Jon, performed with delightfully jovial bite by Troy. End with the pure elation of portraying attitudes gone amok as terrifically performed by Benedict as the sarcastically serious, high-strung Sable, Addo as the more unassuming yet somehow still deviously ambitious Rosemary, and Hone’s sublime exercise in awkward timidity-hiding-resentment through her turn as Jan.
All meld together to create the total picture of exactly what chaos said inclinations can nurture, and it’s the wonder of ensemble pieces like this one that can be so adept at allowing the talents to truly BE a team and foster equal recognition. Hones even happens to pull off double duty here, but watch the film to find out! So, in total, “Obscenities” is an effective, enjoyable, waggish, and joyfully compelling frolic through the essence of our (sometimes, sometimes not) flawed perspectives and their effect on others. So, if you’re a glutton for clever jocularity, and lust after it more than most, don’t be prideful and incur undo wrath from fellow indie film aficionados. Check out this effort and at least give it a true shot. Because to not do this–well–that would just be a sin.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
