The Pleasure of Being Robbed

The worst film I've seen in years. From the first minute to the last, nothing happens! Our (hugely unlikable) hero, Eleonore, who we follow through the film steals from people for unknown reasons. She is the same person from beginning to end thereby leaving the audience with absolutely no satisfaction. There is no character development, no arc, nothing. This film is as bland as puddy.

It's quite obvious the filmmakers were going for a John Cassavetes story-telling, rawness" but didn't even come close to reaching that bar. Instead they succeeded in showing off their immature, New York, self-indulgent "I'm too deep as an artist" arrogant ability producing this 70 minute film that felt like 3 hours. Everything comes down to idea, idea, idea. Concept, concept, concept. Character, character, character.

My favorite of the worst scenes in the film was the "driver's education film" stuck in the middle of this non-existent plot. I understand people in large cities don't drive & maybe have never driven, but come on: Eleonore, are you 3 years old? Are you mentally-impaired? I mean, you've seen cars, right? You live in NY city, they're all around you. You do get the basic idea of what a car does? How it works?? Ever taken a cab anywhere??? Watching the driver's-ed course which seemed like 45 minutes was pure torture! Seriously, is this really story-telling? C'mon, do you look at your own film & say, "WOW, it's so wonderful & deep."

Having screened at the L.A. Film Festival, when asked about certain character/story questions from the audience, the filmmakers had no clue how to answer these basic questions like, "why does Eleonore steal?", or "what's the meaning behind the title?". They just confirmed to the majority of the audience that they are just a bunch of white-kids with a lot of money, making films in which they have no business doing. I wouldn't have such a problem but knowing they think the world of themselves just because they went to NYU & live in some trendy area, living off mommy & daddy's allowance but play it down like "I'm a struggling artist just like you" is completely insulting.

I felt robbed after having seen this film. Can you give me back my time? How 'bout my money. There is NO pleasure in being robbed.

I stumbled upon this used DVD in a thrift store and knew nothing about it. It just caught my eye and something told me to buy it. I'm so very glad I did. Sometimes the stars align and miracles happen, and that's what it took for me to find out about this excellent little movie.

I was expecting it to be a micro-budget indie film with bad acting, and hoping for a few redeeming moments and a whole lot of charm, which is about the best you can ask for from that type of film (I thought). But I was blown away. Five minutes into the movie I realized I was watching something else entirely. I've never seen anything like it. I didn't know indie films could be made this well.

Everything about it is just perfect and far better than any attempt I have seen before. The cinematography is beautiful and the editing is very good, as it the acting, which surprised me the most. The actors here are all ones I'd never seen before, so no big stars, but they all did an excellent job (aside from a few moments of mediocre acting in some of the smaller roles).

Now let's get to the story. It's about a young woman in her twenties who lives in New York. We've seen it a hundred times, right? Nah, this woman happens to be a pickpocket. And for the first time ever, we get to watch a pickpocket going about her day. Some have argued that there's no plot, but wouldn't a plot just make it so boring? That's been done before! It's better just to watch the characters sometimes. This one is fascinating!

Everything was very well done for such a low-budget film, although I later found out that multimillionaires Andy and Kate Spade had something to do with this production. I believe that most of that money went to acquiring film stock, however, as this film was shot on good old film rather than digital, the latter being the preferred medium for films like this. But the film look really makes this all that much better, and really adds to the style and makes it look more legitimate while still maintaining wonderful raw and gritty feel.

Seemingly unaware of itself, The Pleasure of Being Robbed, floats along each frame in a similar fashion that Eleonore does. Not for a second is the film pretentious as one may think after reading a brief description; there is no judgment on Eleonore. We follow and watch her as she goes through her day, stealing smiles, hugs, and kittens from strangers.

It is intriguing and (seemingly) unconscious in the same ways Richard Linklater's Slacker is, and with this said, it is likely those who did not find Slacker appealing would not be interested in The Pleasure of Being Robbed. (This review is coming from someone who is in love with Slacker so...) But it is more intimate than Slacker is; in Slacker, we only get a couple of minutes with each character; with The Pleasure of Being Robbed, we get 71 minutes. With this said, it is not a continuation of Slacker; it stands on its' own as a piece of art.

Eleonore is essentially a child. She tip-toes around (literally, in some instances), looking as though she is singing something in her head and giggles and smiles to herself. She has little inhibition and thus, feels the right to steal from people in order to peak into their lives and create another self. In the spirit of Arthur Rimbaud, "I is someone else," for her. And just the way people love children for not restraining themselves with certain actions, they know it is also selfish. Her character is both beautiful and sad; both distant and relate-able.

I saw this film at the IFC in New York City and the director and the woman who played Eleonore were there after (along with the other makers of the film) answering questions. I was pleasantly surprised at how honest Josh Safdie (the director) was in his answers. He was completely genuine and modest, and seemed excited, going on digressions. It was a nice change in a place that is often overwhelmed by pretentious, arrogant, aspiring filmmakers.

Perhaps I've watched too many 2000s Williamsburg hipster flicks lately, but this one was a real tedious experience. There's certainly something intriguing about the feeling of dull desolation that characters like her, Francis Ha, and the girl in Eternal Sunshine invoke. It's a sort of, life's not that bad, but it's not that good either - a feeling that many people can relate to, especially the Passion Pit stans of the aughts. That said, it's difficult to feel sympathy or even irritation with the characters in this movie. They're aloof, they're flighty, they're criminals in the most pedestrian sense. You don't feel a connection with the characters, and maybe that's the point: they're dull mundane version of living on the fringe is a greater story about the boring dystopia that is America and youth culture. Maybe. Though, like with Frances Ha, it reads a bit more like at some point in history this mentality was cool or edgy. Sort of a last celebration of shoplifting graphic tees from Zumiez and sneaking into the mall movie theatre: it seems like a big deal while you're doing it, doesn't really matter to anybody else..

THE PLEASURE OF BEING ROBBED (dir. Joshua Safdie) A brash example of LoFi Mumblecore that presents an unapologetic look at a whimsical sociopath who believes that anything that strikes her fancy is hers for the taking. Elenore swipes everything from kittens to Volvos, and the film's uncomfortable message seems to be that her victims are only being blessed by her wonderfulness. Needless to say, it's nearly impossible for a rational viewer to rally round a character with such an extreme egocentric focus, yet the film might only be a sly cinematic valentine by director Joshua Safdie to articulate his feelings for the star of the film, Eleonore Hendricks.