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Performances are smiley and offhanded, with a nice improvisational tone that offers insight into the characters and their insecurities. Even as things get somewhat messy, the actors skilfully underplay their roles, stirring humour and emotions into conversations. On the other hand, it becomes increasingly difficult to like these people, simply because they're unable to deal with their jealousies, loyalties, desires and even the way they're attracted to each other. The actors cleverly play these things too, revealing how all of this leaves them struggling to like themselves.

"It's very complicated," John sighs when he tries to explain what's going on in his mind. And indeed, things get progressively tangled within the somewhat simplistic moral world of this story. It's not as if the feelings this situation sparks are unexpected, and yet Nate, Jessica and John find it impossible to face reality. And while writer-director Hoxha makes it fairly clear who the good and bad guys are, the way it plays out kind of muddies the waters, which is perhaps the most honest thing the film has to say.

themes, language

3.Jun.20

Amid this heightened tone, performances are relatively muted, which keeps the audience off-balance. As Sarah, Bloom remains so internalised that there's a sense she's hiding something important and has some untapped reserves that will come out later. The supporting cast is effective playing people who are rather too helpful, insidious simply because they're over-involved, but refreshingly never over-the-top. So each actor offers engaging edges to his or her role.

This is a nice spin on the usual movie about a young person discovering that having an independent life isn't as easy as expected. Of course in this case, it's downright awful. And while the idea of a community of selflessly connected people is enticing, the way it's so violently created is frightening. Of course, the more textured thematic elements ultimately give way to a standard climactic blood bath. But even then, writer-director Marmor has some things to say about society outside this hellish complex.

themes, language, violence

4.Jun.20

The three central actors connect deeply with the material, making these people easy to identify with on a variety of layers. Batchelor's Jess is a remarkably positive presence, always looking at the bright side while still seeing the full picture. Her chemistry with both Perfetti and Jones is superb, and both actors bring out their characters' diverging, authentically shifting reactions to the situation without ever hinting that one feeling is more valid than another. Which is no mean feat.

The film's earthy, honest tone gives it a powerful kick, raising important ideas without generalisations and recognising all opinions as valid. Each character is a sympathetic bundle of conflicting emotions. Caught in the middle, Jess has a lot of intense conversations that raise a number of salient issues, going far beyond the central narrative to explore a much bigger picture about people who are marginalised. The film is perhaps overly based around heated arguments, but where it goes is provocative and moving.

themes, violence

5.Jun.20