Shadows on the Wall | Christmas Eve in Miller's Point

Christmas Eve in Miller’s Point

dir Tyler Thomas Taormina
scr Eric Berger, Tyler Thomas Taormina
prd Krista Minto, Tyler Thomas Taormina, David Croley Broyles, Duncan Sullivan, Michael Cera
with Matilda Fleming, Francesca Scorsese, Maria Dizzia, Michael Cera, Ben Shenkman, Elsie Fisher, Gregg Turkington, Sawyer Spielberg, Lev Cameron, Tony Savino, Chris Lazzaro, John Trischetti Jr
release US 8.Nov.24,
UK 15.Nov.24
24/US 1h46

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Shot in a way that's deliberately in-your-face, this holiday comedy is almost startlingly noisy from the start, as a family gathers for the holidays. Cameras follow the enormous ensemble fly-on-the-wall style, while the filmmakers resist offering context. So we must catch up on our own, finding resonance where we can. A deadpan charm flows through the entire film, eliciting a wry smile. But it all feels a bit random.

Relatives from multiple generations arrive in the family home for Christmas and get on with the business of entertaining themselves amid the cacophony. Upstairs, the older siblings privately discuss what they'll do with their ageing mother. Some want to sell the house and put her in a home, others reject the idea. What they don't know is that Matthew (Trischetti) has already sold it. At one point they all go outside to over-excitedly watch Santa pass by on his sleigh in the annual community parade. And after dinner they get nostalgic watching old home movies.

Music blares, young kids scream, teens go joyriding, carols are sung and the house is adorned in lurid red decorations. With so many people on-screen (45 primary actors are credited), it's difficult to find our way in, because we have no idea who's whom. And we never really get to know much about anyone. So we just eavesdrop on conversations and follow the mini-adventures. Despite some dodgy camera trickery, the film is sharply well shot and edited, with amusing transitions and a skilful attention to detail.

The actors are remarkably true-to-life, creating a believable mob of family members. There's a real sense that each of them is a fully fledged person with a vivid life off-screen, so they're enjoyable to watch even if we never learn much about them. Dialog is witty and sharply realistic; quiet moments seem to bristle with meaning, even if they're impenetrable for the audience. But there are lovely glimpses of the bond between these disparate people.

About the closest this rambling film comes to a plot thread is following two laconic cops (Cera and Turkington) as they encounter various revellers and have an oblique confessional moment. And there are a few nicely emotive scenes. But there isn't much here thematically for us to grab hold of. Essentially the filmmakers are playing with the idea that the holidays and gift-giving are essentially empty activities, while at the same time they are making the point that simply having an excuse to be together is worth the trouble.

themes, language 23.Oct.24

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