WATCH THE TRAILER HERE
First, the Recap:
The policies of representation and a rendered image in the eyes of the world–and ourselves. We strive to be seen, to be noticed, to be valued, to be appreciated, to be known. Whether this comes out of sincere intent or a more potentially perilous ego-driven, power-seeking paradigm, the lengths taken to maintain that which has been gained can be rewarding beyond dreams–or damaging beyond repair. When it comes to finding the avenues to restructure, rectify, and/or reorganize image, no one does it better than veteran publicist Chelsea (Elle Jae Stewart). Yet, even as she deals with professional dilemmas with a particular client, her personal life is taking an abrupt and unflattering hit thanks to her husband Andrew (Marcus Henderson) and another woman, Corin (Chloe Paige Flowers). Soon, as events spiral, Chelsea’s involvement with the situation threatens not only upend her own sense of who she is, but that of anyone who now find themselves in her obsessively unsettled sights.
Next, my Mind:
A proof of concept for a future feature film or even what could be construed as a pilot for a possible web or TV series, this 22-minute short film effort from writer/co-director/executive producer Elle Jae Stewart and co-director/executive producer Thomas H. Stewart carries itself strongly as a candidate for either aforementioned option, delivering a taut, intense, intelligently executed thriller that oozes fiery dramatic energy, beautifully crafted character development, and edgy purpose in a narrative that focuses on one PR rep’s decline into eerily controlled menace when her existence gets rocked by personal troubles. The pacing is perfect, drawing us as the viewer into Chelsea’s chaotic professional life while likewise immersing us into the newly unfolding conflict which has the inherent hazard of being taken to deadly extremes.
I loved the fact that this effort managed to fit such a fully realized idea into a 22-minute runtime yet not do it in such a way so as to feel cheated or shortchanged by getting a overtly rushed, half-baked, or forced sense of tension from an equally truncated storyline. Quite the opposite, I felt the level of tension and engagement the film engendered leaves the viewer fully wanting more, especially given a finale that completely BEGS to have further exploration yet also allows for a world of conjecture to swarm through your mind and gives a notion of closure even as you catch your breath and let that smile of satisfaction cross your face as you ponder just how deliciously uneasy the tale leaves you feeling, which should be the reaction given the primary character’s magnificently portrayed breakdown presented here in context of the film’s thematic journeys.
What becomes the potent core of this film’s objectives (beyond sheer entertainment, of course) is an element I so often love about independent cinema–the real-world light that it all shines on how we are as human beings when it comes to a desire to be in the spotlight, but then only on OUR terms and no one else’s. If a circumstance arises that agitates this sought-after self-focus, we can truly get so blatantly fixated on “correcting” the issue, even if it’s actually at the cost of those who we feel have wronged us (or perhaps even DID), that it can become damaging to our identity, then losing ourselves to poor choices and actions that could have a lasting, hurtful, and highly devastating impact on our personal character to an extent that there’s no turning back, which I felt is what’s being showcased in this film. No thought to consequence, rather raw, emotional, unhinged(?) conduct.
Stewart is simply fantastic in her portrayal of Chelsea, a woman of means, power, influence, and knowhow who dominates her world of PR with unflinching ease, commitment, drive, perseverance, and total confidence. Yet, when the decisions made by her husband surface, that entire picture of frenetic ease turns into a wildly calm but much more frighteningly manipulative, calculating manner that heralds the beginning of her new focus and associated choices. It’s a wonderful performance, and Stewart embodies the character’s change in demeanor smoothly, realistically, and with full dramatic flare. It just reminds me of how much indie film so deftly allows for grounded characters like this to be the cultivated to a point where even when it might become one you love to hate, that’s the effectiveness of how it’s all conceived and brought to life impactfully, like here.
Henderson likewise does a beautiful job is his role as Andrew, Chelsea’s husband whom it’s clear is desperately attempting to be relevant in a marriage to such a strong woman in a position of sway over both herself and him which has caused him to make multiple poor choices. His efforts to find resolution between himself and Chelsea only gets him further into trouble, and Henderson nails the character’s troubles through focused, believable energy and poise. Flowers also shines here as Corin, a beautiful young woman who has captured more than just Andrew’s heart but has also drawn the unexpected and soon unwanted attention of Chelsea’s obsessions and vendetta. The innocence of the character is honestly what sticks out, and it makes how Flowers enacts it that much more relatable when seeing how Corin gets involuntarily swept up into the volatile storm she does.
Plenty of excellent primary supporting appearances are here as well, courtesy of Andrew Lloyd Preston as Dr. Sweeting, who has a friendship with the trio above but no inking initially of what Chelsea might actually be capable of even as he tries to remain objective, Natalie Whittle as Sweeting’s wife Simione who also only wishes what’s best for both Chelsea and Andrew, perhaps even if it means they should be apart, Shamar Sanders as Rodger, Travone Evans as Sam, and Courtney Elaine Brown as Leslie, all three co-workers at Chelsea’s PR firm who try their best to please her while showing evident frustrations at her demanding attitude as well, Devi Ohira as Angela, Andrew and Chelsea’s personal banker, and Johnnie Mack as Onyx, a homeless man Chelsea sees daily but who might play a bigger part in her circle than merely acquaintance.
In total, “Public Relations” delivers spot-on entertainment while not shying away from or sacrificing well-written, smartly presented dark drama that has so much promise for what could come next out of it. This critic will be definitively invested in anticipating Stewart & Co.’s next move with this property, and can only imagine and feel confident that it will be just as great as this first part was.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
