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Title: Mutual Appreciation (2005)
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| Cast overview: | |||
| Justin Rice | ... | Alan | |
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Rachel Clift | ... | Ellie |
| Andrew Bujalski | ... | Lawrence | |
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Seung-Min Lee | ... | Sara |
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Pamela Corkey | ... | Patricia |
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Kevin Micka | ... | Dennis |
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Ralph Tyler | ... | Jerry |
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Peter Pentz | ... | Scotty |
| Bill Morrison | ... | Walter | |
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Tamara Luzeckyj | ... | Esther |
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Mary Varn | ... | Rebecca |
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Kate Dollenmayer | ... | Hildy |
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Keith Gessen | ... | Julian |
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Salvatore Botti | ... | Ron |
Adults in their 20s circle each other, their bodies in motion, with occasional attractions and lots of talk. Alan is a musician, just down to New York from Boston, hanging out with his friend Lawrence and Lawrence's girlfriend Ellie. Alan and Ellie are on a bed talking: is this prelude or possibility? Sara, who has interviewed Alan for the radio, seems attracted to Alan, but Alan may not be so sure. They, too, sit on the edge of a bed. He has a gig; it goes well. How should he handle Sara? Has the moment with Ellie passed? Do things play out or does time merely pass as bodies move through space? Written by <jhailey@hotmail.com>
Without condemning the whole mumblecore movement, I think I sympathise more with its critics than its fans. The films certainly convey relationships between their characters realistically, and there are some scenes in each mumblecore film I've seen which I could almost recognise for myself, but I'm always overwhelmed by this slightly smug self-awareness that pervades many artists working under the 'indie' banner. It is easy to believe that the makers of these films are very similar to their characters young, confused, directionless but the fact that the focus most often falls on the progeny of the last bourgeois generation takes away the integrity of this gritty, frugal filming style.
Mutual Appreciation is as much a milestone of indie film-making as it is a victim of its own pretences. The observer paradox seems to pervade much of the dialogue, much of which feels calculatingly awkward it is easy to distinguish between the improvised lines and premeditated lines. Having said that, I was struck by one scene where Alan is besieged by with women at a 'party' he wasn't certain about going to in the first place, and is eventually convinced to don a dress and make-up. Here it seems the actors were given the most room to ad-lib, and it's a brilliant piece of footage which seems to speak to the majority of young adults and their issues with projecting identity.