A Story of Greater Depth Than the Script and Runtime Allow
'Float' tells the story of Jonny, a nervous young artist trapped in a world where his homosexuality is condemned and his talents and timidity are unappreciated by his father. Only his art teacher seems to recognise the aptitude trapped inside and she sends him to Eleuthera to find himself. There, Jonny finds his identity through the help of Romeo, a young man confident of all but his sexuality, and discovers that he may have more courage than he realises.
Coming in at just under 35 minutes, 'Float' does not have a good deal of time to explore its chosen themes and in consequence, the human voyage of discovery and transition seem to happen just a little too quickly and easily to ring true. That aside however, the characterisation is handled with understanding and warmth. The awkward, introverted and timid Jonny, as played believably by Jonathan Murray is someone you ultimately want to see triumph when that first spark of defiance becomes evident. Similarly, the carefree and affable Romeo, as played by Stephen Tyrone Williams, elicits appropriate feelings of betrayal when he is unable to live up to the very philosophy he seemingly preaches. They may not be Oscar-winning performances, but there is an honesty and a resonance to them.
While a culture of homosexual persecution is the film's main theme, it is only really in the opening sequences where this is made manifest, through footage of anti-gay rights protesters. Although punctuated slightly further by a couple of scenes with some street kids, the real persecution, it is emphasised, is that which we inflict upon ourselves through fear. While these external and internal battles are worthwhile and form a strong basis for a tale of the struggle for personal freedom fought every day by many across the world, they are very tall pillars for such a short film to support - at least in the way the script was conceived. I'm fairly sure that many who are dealing with these very issues would argue that they are not overcome quite so easily. Doubtless budget was a constraining factor here, though it should have led writer/director Kareem Mortimer to consider what is achievable within the constraints imposed - yes, you can tell the story in half an hour, but will it have the same impact?
Nonetheless, while this leaves 'Float' feeling at times like the edited highlights of much longer story, it is still an entertaining gallop through a moving and very personal struggle. Mortimer could certainly not be accused of slow pacing - indeed, we are missing none of the story's crucial elements and each is constructed with the skill of a genuine film-maker. The dialogue is feels real enough and generates real emotion. This being the Bahamas, Mortimer is also blessed with a natural set that paints its own rich colours and only adds wonderfully to the human battle for freedom. You are almost left wondering how some people have time for such pointless persecution in the face of so much natural beauty - the human tragedy in a nutshell.
Thus, while 'Float' suffer from a lack of depth and development borne of obvious budget limitations, the parts still hold together well enough to deliver its underlying message intact and in an engaging way.
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