WATCH THE TRAILER HERE
First, the Recap:
“Sir, the test results are back, and, unfortunately, the diagnosis is–“. Words we honestly never wish to entertain when being told about anything health-related during a visit to our physician. Knowing that it normally indicates illness that has little overall hope of a positive outcome, the mental and emotional toll that strikes immediately is in itself overwhelming, more so when it is the “C” word in play. Beyond this, what do we then consider about leaving a legacy behind should we face the end? This is now what relentlessly passes through the mind of 23-year old Rob (Rob Scerbo), whose cancer has been discovered late, putting any future in disheartening jeopardy. Therefore, his first big step to take–a trip to the local fertility clinic and offering a–donation–that he hopes will at least lend him some sense of comfort against the anguishing uncertainty ahead.
Next, my Mind:
Cancer is never a funny thing. Period. It is a sad, tragic reality that so many of us can directly relate to via knowing someone who’s battled against it, sometimes with a win, but more so too many stories end in loss that reverberates through our hearts forever. So, when it came to this 14-minute indie short film from director/producer Margaux Susi, writer/producers Jeremy Culhane and Rob Scerbo, producers Angela Giarratana and Grayson Propst, executive producers Andrew Carlberg and Maggie Kaufman, and consulting producer Michael Christian, admittedly, seeing that it was primarily labeled a comedy with a potentially provocative title to boot, I had my concerns. Well, THANK YOU, indie filmmakers, for once more managing to take that which seems impossible to certain extents and turning it into something wholly impactful completely relevant, and deeply human, while still managing to provide us some all-out jovial entertainment in spite of a highly weighty, very serious subject matter.
Soon to enjoy its World Premiere in-person screening at the 2023 Tribeca Film Festival on June 10th (with additional screenings June 12th and 17th, then via steaming through the Festival site June 19th-July 2nd), the film sees a narrative centered on a young 20-something man who gets “the news” he never anticipated and certainly didn’t wish to hear from his doctor, finding himself immersed in what has now become a bid in his mind to ensure a legacy should things take a turn for the worse, hence the visit to the local fertility clinic to–contribute–towards this cause. Now, from this point, this is where what this critic feels is the sheer genius of the narrative begins to strongly shine through, as while there’s a totally, undeniably riotous series of moments that follow that are aimed at poking fun at the character’s–efforts–to carry through with the plan he’s made, it gets intelligently intermixed with the harsh actualities of his circumstances, even to a level of “meeting” himself, and this therefore creates the film’s atmosphere of potent emotional tension that is just so tangibly affecting.
From said comedic standpoint, the film takes full advantage of highlighting the sense of utter awkwardness involved with the process being depicted, the support and “encouragement” of friends, and playfully addressing precisely what style of video-based–incentive–is needed. But then, in the midst of all of this silliness, there’s the beautifully orchestrated and hugely stirring instances of recognizing the brutal truths and the fear of what is to come, the sense of aloneness/isolation from the the fact no one REALLY wants to TALK about it, and the crushing questioning of “WHY”, “It doesn’t make sense” (though, does it ever?), being willing NOT to give up, as well as the mantras of “Believing” and “Planning for the future”, even the notion of a parent’s sense of guilt for their son’s plight all getting their share of the narrative pie here, doing so with effectively written candor and intent so as to deftly drive the film’s points home with integrity, absolute respect, and persuasive power, even as by the time we reach the film’s third act and evocative finale, it IS a return to a magnitude of humor AND drama that DOES WORK while NOT taking ANYTHING away from grander purposes presented.
Plus, the literal final moment has a (perhaps intentional??) snicker-inducing “wink, wink, nod, nod” significance to events if you wish to read between the lines, at least in this critic’s opinion, or maybe it’s just what it is! Scerbo offers a wonderfully smart foray into the arena of dual genre acting, providing us with a character that can be both fully comical then believably grounded through his role as Rob, a younger man forced to unexpectedly face the unthinkable while then also needing to consider what he might be able to leave behind. With two of his supportive (for good or ill LOL) friends, Rob’s endeavors to successfully try and assure this might happen at the fertility clinic runs into a few snags when his mind is distracted so much by what he is facing. It’s such an intensely earnest performance we’re given here, as Scerbo needs to SELL you on such a solemn topic while still managing to DISCOVER the comical elements, make them feasible and understood, THEN hit you with the more sobering material and do it credibly. Folks, he DOES!
Primary supporting roles arrive via Jeremy Culhane and Aman Adumer as Andy and Dave, Rob’s best friends who of course tag along with him on this adventure, only too happy to provide (it IS genuine, but a tad..off..at times!) the backing (though NOT assistance, thank goodness!) their pal needs to try and make his donation a reality, Sophia Ali as Nurse Kirby, the clinic RN who has the wonderful honor of dealing with the insanity that IS Rob and his friends when all she’s attempting to do is her JOB, and Parvesh Cheena as Rob’s physician who delivers the bad tidings–and then later has a dryly hilarious announcement he makes. Additional supporting roles are made by the awesomely beautiful ensemble of Kourtney Bell, Kylie Brakeman, Grace Hinson, Ana Marte, Austin Williams, and Nicole Pedra as the women who, in some form, become initial mental images for Rob’s attempts at–production. Appearances are also made by Lauren Holt, Susan Ziegler, and Derrica Barbee.
So, in total, “The Sperm Bank”, whose title IS entirely apropos, but initially hesitation-inspiring to some maybe, flat-out skyrockets above your standard modern gross-out/raunchy style comedy as we might have THOUGHT was coming and catapults us into a surprisingly hysterical, moving, compelling, and unconditionally awareness-raising film that unflinchingly chooses to tackle the specter of cancer in a manner that ultimately engenders what we so desperately need to be embraced when encountering and fighting this insidious disease–HOPE–while just maybe finding SOME way to smile while we’re at it. To those out there confronting this in ANY form–YOU ARE NOT ALONE.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
