Based on the original short Curfew (2012), Shawn Christensen’s debut feature as a director is a
cool and collected tour de force work of filmmaking. For a relative novice to
the film world to produce such a mature and well-handled movie is a rarity and
sets its director up as someone whose work should be looked out for in the
future. The film, written and directed by Christensen, also sees him taking the
lead role; a role which he also manages to fill with real panache.
The story itself is a difficult one to describe. A young man
whose girlfriend has disappeared wallows in a meaningless existence. He works
as a cleaner in a nightclub and soon discovers the body of a young woman who
has died of a drug overdose. Sickened by his melancholic life, he attempts to
kill himself. However, as he is about to do so, he receives a call from his
estranged sister asking him to pick up and look after his niece for a few
hours. This then sets up a chain of events, as he attempts to protect and look
after his niece whilst navigating from one seedy New York location to another.
At the beginning of the movie there is a real friction
between each of the characters. Everyone seems to be hiding something; they all
seem to be on the edge, just hanging on to there sense of calm and balance. Our
protagonist Richie (Christensen) is simply the most honest of them. He wears
his heart on his sleeve and when forced to lie, he usually backtracks on it
later. He’s really just a broken man, but put in the position of responsible
adult looking after his niece, he has to step up and be the kind of man he
feels like he can’t be.
His sister Maggie on the other hand (played by Emmy Rossum)
appears to be harder edged and collected. She’s a driven career woman who
always plans ahead. Yet due to a mistake and some unforeseen circumstances, she
is forced to open up and rely on her estranged and irresponsible brother
Richie.
Richie’s niece Sophia is also very similar to this. She has
a very set routine organised by her mother and is reluctant to step out of it.
At first she seems cold and aloof. She has no interest in her uncle or where
he’s been for all these years. However as the film goes forward, she begins to
open up more and let herself loose. Throughout the film we find out more about
his niece: who she is, what she does, her routines and most importantly, why
she acts and behaves the way she does.
It’s in this area that the film carries its greatest
strengths. Its use of character in plot development and story has a consistent
maturity to it that has become more and more of a rarity in modern filmmaking. The
very fact that the vast majority of the film is made up of two people talking
to each other in a genuine manner is something very refreshing in itself.
Visually the film is also very nice. There is a great sense
of colour to the cinematography and an interesting use of framing and camera
movement. A keynote here is that the film never seems to be trying to be loud
or flashy. It doesn’t over use or over do any cinematic techniques; the
filmmakers simply applied them with tact when necessary to the story.
On the whole Before I
Disappear is a smart and well put together drama which highlights the
potential of pretty much all of the filmmakers involved. The story whilst not
necessarily everyone’s cup of tea is extremely well handled. If I could think
of a strong negative for the film, I would note it here, but from what I saw,
the film overall is really something quite special.
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