Mutual Appreciation

Painful awkwardness…it's a real problem. Bujalski masterfully uncovers a new generation of college graduates that probably seems all too familiar to some. The film captures moments of social anxiety that come from a generation of sheltered upper middle class graduates. The security of a sheltered life comes with a price: these people have no idea how to express emotions and talk about anything beyond mundane daily happenings unless, as Ellie says, they are fed multiple beers. When Ellie and Alan admit a mutual attraction for each other on the bed, they have absolutely no idea how to realize it. All Alan can do is hilariously and timidly rub Ellie's arm. Instead, Ellie simply goes back to a boyfriend that doesn't even experience a mood shift when Ellie tells him he is attracted to his best friend, and they had a very vague "moment". Are we finally seeing the consequences of not letting youth experience anything for themselves? Are these people victims of their upbringing or is it their own fault, or both? I sat there watching the film feeling entirely uncomfortable, which is why the film worked so well. The silence in the air often made me cringe, which created completely hilarious moments when the characters finally responded with confused, inarticulate comments: "I can't even do that thing where you're not my girlfriend and I'm making out with you". I was scared to watch the movie, because I was afraid it would remind me of my own post college life. Some moments did hit close to home for me, and I found myself reflecting on my own life as well as the characters in the film. This film is scary and funny at the same time. It reminds us to wake up, but to also realize that life is full of awkward moments and sometimes all there is to do is laugh at them. I saw this film at Chicago's Music Box, and suggest that everyone do the same before the film is gone from the theater.

I saw Mutual Appreciation on the bottom row of a 'new release' section of a movie shop and it caught my eye. I usually am a sucker for movies that are deeper than the average celluloid we are bombarded with. I didn't have a great expectation for the movie, which turned out to be great. The dialog isn't deep. And it isn't meant to be. It's very real to life. The colours and positioning really captured the essence of the movie: bleak and monotonous. I did like it for the fact I felt that I could relate to more than one character, and the characters were realistic and likable. I've read previous remarks, and I suppose the only advice I can give is to watch the movie without expectations and with a open mind. On reflection, try and see if you can relate some of the central themes to your life and you will be pleasantly surprised. As a 16 year old that is trying to find movies that break the conventional mould, I found this refreshing and it made me hopeful for some reason. I will definitely be checking out Funny Ha Ha.

Here's a drama of sorts, done up in grainy, black & white, faux verité style to simulate a documentary of a moveable feast of trust children and other well heeled, well educated slackers, all Brooklyn apartment denizens, whom we follow around during their standard issue daily lives. I suspect - though I don't know and haven't read - that the actors were told the general arc of the film and assigned broad outlines of their characters (maybe they even helped to develop them: the method of the English director, Mike Leigh), then allowed to ad lib within those limits. The dialogue surely has that feel.

The major subtext here is friendship. The action, if you can call a long series of sedentary conversations that, centers around a trio of characters: Lawrence (Andrew Bujalski, also the writer-director), his girlfriend Ellie (Rachel Clift), and Lawrence's long time best friend Alan (Justin Rice), who has just come to town after his rock band, "The Bumblebees," had broken up in Boston. A crackle of attraction fills the air between Ellie and Alan, and a lingering issue throughout the film is what will develop between them, and what will become of Lawrence's ties to both.

The principals and their friends prattle on about such crucial matters as the iron deficiency that can develop from vegan diets (Alan's friend's solution to this was: eat meat); honesty; what to do after someone kisses you; making pop music and performance art; taking "proactive control of one's destiny," as Ellie puts it to Lawrence at one point; obtaining and smoking good weed and occasionally maybe scoring some cocaine, though it's not a big deal; hitting Dad up for dollars; Buddhism; elliptical references to some other people - erstwhile close chums - getting married. .

Those are the searingly important issues of the day for these young adults. Nothing about politics, social or global issues. Not a word about career, except for Alan's aspirations to make it as a rocker (Mr. Rice has an arresting singing voice with a faintly Irish lilt to it). The talk goes on and on for 110 minutes. It's "My Dinner with Andre," without Andre. And without dinner. No arc. No resolution. No character changes. Not even an interesting idea or two. Just slices of daily life, like I said. The whole enterprise feels (a) realistic and (b) boring, agonizingly boring.

One saving grace is Mr. Rice, whose Alan is a shy, beguiling, endearing rogue of a fellow for sure. The other thing is absence of cigarettes. For the longest time I thought this would be a fag-free movie, and it almost is. Only in the 85th minute was one cigarette smoked, shared between Ellie and Alan as a sort of 40s style sexual signal. And not again. This film is marginally better than Lila Yomtoob's recent movie "High Life," about the same Brooklyn-dwelling, beer drinking young slacker social set.

My partner and I have ties to a group of "younger" adults, now approaching 40, who attended college together and then migrated more-or-less as a group to San Francisco, where most of them continue to live. Their bonds remain palpable and enduring. A dozen years ago their daily lives might have looked, to an outside viewer, a lot like the people in this film. Today it's different, but only in some respects. Most have solved the problem of vocation, one way or another, and they are more interesting than the 20-somethings because of it.

One has followed a traveling circus, becoming proficient as a sword swallower. When not on the road he lives in a warehouse by the Bay with his partner, a woman who arranges sets for the opera. Another flies in for parties from D.C., where he now works for the IMF. Yet another is an agronomist who is about to finish law school, and one sells art at an upmarket gallery near Union Square. Our friend, who has lived in Japan and studied Butoh dancing, is now a freelance, self-taught finish carpenter and fine cabinet maker.

Our friend only became political in his early 30s, shifting dramatically from indifference to activism. In terms of their intimate lives - their capacities to establish and sustain romantic or conjugal relationships - it's still a much more mixed picture for our friend's group. Some have married, others not. For several, although they are highly personable individuals, "permanent" love relationships still remain just beyond their reach.

I bring up this group not so much to suggest those things that may and may not change as singles move from their 20s into their 30s, but primarily to make a very different point. Our friend's friends would have no interest in or even knowledge of us, nor is it likely that we would know or care about them, fascinating people though they are, were it not for the connections – the social network – that exists through our friend. He was my stepson's dearest chum in childhood; my partner has known him since he was 5, and I have enjoyed his company for over 10 years. It is because of our friend that his circle interests us so.

To sharpen the point, there are only two reasons for anybody to care about the group of kids in this movie: (a) you identify with them: you're a kid yourself, in fact or in terms of your own psychological makeup; or (b) one of them IS your daughter, son, or a longstanding friend of theirs. For everybody else, and that's most of us, this film basically sucks. My grades: 5/10, C. (Seen on 02/09/06).

I respect this movie very much. It does an excellent job of creating realistic situations and natural dialogue. But it almost feels too real at times. Watching this movie is as if I was sitting in a room watching my friends talk and mentally filming it. I respect the attempt but there's a reason why movies are scripted! Real life conversations can get boring at times. And in this movie, the director let many scenes run far longer than they needed to. And the lack of any semblance of a real story emphasizes its quality as a snippet of a week or so in the lives of three 20s New Yorkers.

Mutual Appreciation is one of the first I've seen where I feel totally like I am watching real life. And this creates some very funny moments. But it also leads to many dull points and a lack of direction to the film, which is easily recognized as the intention of the director. But I don't think it makes a great film. A film to be respected for its attempt, but not necessarily enjoyable or a great film.

I think a film like Mutual Appreciation and films in general akin to Mutual Appreciation will more often than not get a bit of a sigh from its audience following the first five minutes, possibly followed by a rolling of the eyes. But while certain experiments can go wrong when it comes to film, I don't think Mutual Appreciation is a film to be sniffed at. Its really low budget and the fact it goes a for a pretty long runtime considering what conditions these people are making it under add to the overall experience of watching a film as guerrilla style and as unordinary as this one but the most surprising thing I found was just how interested I really was as these scenes and this runtime were totalling up.

Mutual Appreciation is a film about students, made by students. It carries all those tags you'd associated with the young, the up-coming and the adventurous in the sense there are lots of long takes; there's dialogue that doesn't revolve around anything and the makers are using people they probably picked off the street for locations that are their own homes – the film even gives us a few well shot scenes on actual streets but not in the cornered off, Hollywood sense where lots of extras make up the background and a police presence stops anything going wrong, oh no: this is neo-realism, out on the roads, with self-motivated written permission for filming and everything else that comes with it.

I guess we've all attempted to make a film at one point in our lives. For some, it becomes careers; for others it is limited to a brief recording of a friend or loved one on a holiday via a camera phone or a recording of an event such as a wedding or birthday party, the ultimate 'home movie'. But Mutual Appreciation is a 'home movie' of sorts that relies on people in a fictional yet realistic situation attempting to, at the film's core, find who they are and where they belong with what they belong doing following up as a sort of sub-theme. Conversations can take place in houses or flats; on city streets or in cars and can revolve around anything in particular like the size of a mole on someone's body to the meaningless chit-chat that occurs between a band member and the host before a live musical performance.

But the truly scary thing about the dialogue is just how good it is or just how interesting it is when it's trying to be smart and carry substance. The host of the musical performance owns a cinematic space that is vastly the superior of all the other locations, especially ones that dictate where certain characters live. In his kitchen, primary characters Alan (Rice) and Sera (Lee) will have an uneasy conversation that will have you flinch somewhat to do with their relationship – it does not help matters that the preceding scenes had her in a flirtatious mindset with the host of both the apartment.

But as I say, the film's focus is on these people and where they fit into society. Alan seems to be chasing a musical fondness of some sort but must negotiate girls in the process as well as his father's constant wish for him to earn money to help for more immediate issues. The film gives us splashes of other people. Lawrence, played by Andrew Bujalski the film's writer/director gives advice in his own little room to a girl who is requesting help for male read monologues, something that has no bearing on the overall film but does pop up later on reminding us of this earlier exchange. The point here being that whilst not necessarily demanding an 'art' label, the film proves it is able to deliver a nicely written scene in which one character will help another through good dialogue – good dialogue being pretty much the only thing films like this have initially: they don't have much money for special effect or acting talent and cannot give us lush locations and fancy visual aids but anybody can write a page of dialogue on anything. Mutual Appreciation takes advantage of this one factor.

Going on from the scenes that do work through attention to substance, Alan's immediate life is focused upon following the leaving of the host's flat following the musical performance. He visits a girl with whom he is friends and nothing more. He has left the previous apartment with his female 'partner' still there after going through a minor break-up with someone who came onto him and witnessing her flirtatious activity. In the new location, he is relegated once more and his manhood jeopardised when the female host and her female friends convince him to dress up in female clothing this relegating him further into a sort of metaphorical mire of embarrassment and failure to control a situation when activity involving multiple genders threaten to escalate out of Alan's control – he has failed again.

But Alan's voyage around a night time urban location does not go on for too long and the theory reading has to stop after this scene; this is not Mike Leigh's 1993 film Naked after all. But what it is is an interesting and somewhat unique look at life in America round about now as a young adult or late teen. When issues of sex and relationships arise they are not dealt with in a childish 'American Pie' manner but are constructed and developed - not a film for all but I got a mild kick out of it.