A Year and a Day

In an age of fluff and pseudo-hipness, it's refreshing to watch a movie that provides a personal take on family care-taking and growing old in America. Robert Lane looks at the way we see each other as human beings in an urban environment. Never is the city in which he places his character revealed. That doesn't matter. For we're going on a spiritual quest, whether we like it or not. And it ain't pretty. Having written and directed this film, Lane gives us a scathing and satirical glance into the way in which the American system treats its infirm and elderly. The point Lane makes in his movie sticks in you like a knife: we might not even like our mothers (shame on us) but we must love them. They are blood, they are family, no matter what. And we need compassion in our society. The old, sick and dying need to be treated with dignity, regardless, and well-cared for. We too, must deal with their dying. And in going through this process, we'll no longer be the same. This is a redemption tale, darkly funny, but poignantly tragic too, one that remains with you long after it's over. Because it isn't over. You're lead to think about your own parents, your ambivalence,your future and theirs. Not easy viewing always, but intensely rewarding for being just that.

Written, Directed and produced by Robert Lane 'A Year and a Day' takes us through a year in the life of Benji.   Beset by personal problems Benji has to find a way to overcome these after his mother suffers a stroke and is bedridden.    Though the relationship between mother and son has been somewhat dysfunctional over the years Benji, partly from pride and partly from a sense of duty, has to find a way to ignore this and quickly centers his time on helping his mother in what are to become the last days of her life.   Though there were times when I found Benji's attitude toward others extremely difficult to deal with, I fully appreciated the reminder that there are times when we have to overcome our own feelings to help those who are closest to us in their time of need.   Robert Lane has done an excellent job in telling a story that has its focus set on family bonds and no matter the history there is always an underlying need of care that is hard to ignore. In the last scene I was reminded that above all, life goes on.

I thought the movie was poorly done; poorly written, with atrocious acting, and lousy editing. I saw it for free, and I want my money back. This is the kind of thing one might expect to see shot directly onto video for Lifetime, but not what I want to pay hard-earned money for at the theater. The previous reviewer may not want to see anything but laundry spinning, but I look for more in my entertainment dollar. And I don't think that the miasma of buffoonery that this group of "entertainers is currently putting out really rates the price of admission. Sure, we don't need seventeen car chases per hour of film, but I do expect that, compacted into two or so hours, life might have a few more high points than this.

This is a very strong directorial debut which has his protagonist, Benji on a journey towards both self-destruction and redemption. It reminded me of a film like Garden State in that it has a lot on its mind and takes an irreverent though fundamentally serious tone with some big issues. Benji is shaken from his cycle of emotional self destruction when his mother has a stroke and he must be emotionally and financially responsible for her. The film's strong visual style drives the story forward as Benji has to come to terms with himself and his anger with his mother before she dies.

The look of this film is really well done with some great visual motifs and along with the subject matter and the great cast very gripping. The writing rings true and the freewheeling dialogue is subtle and natural. Eduardo Ballerini stars as Benji in a powerful and really impressive performance. Fairuza Balk (Almost Famous) appears in a wonderful turn against type as a sympathetic nurse, and Sean Gullette from Pi is affecting as Benji's grieving best friend. The real find are some of the supporting actors—Paul McCrane from ER does a funny and touching turn as a physical therapist who gives better than he gets, and others like the barman played by Stephen Wastell, the girlfriend played by Paula Ficara and the young girl Emily Ratakowski are all engaging and very natural. The old folks home administrator John Ireland is very funny and smarmy. This is one of those movies that demands a lot from an audience but gives so much back in return.

In this time of fast paced, violent offerings which assume an audience no longer has the capacity to exercise more than a three minute attention span, Robert Lane has given us a character study that is both sensitive and deep. Although the story is about the transformation of one man, there are subtle changes for all. There are details in the interactions between characters that will make you want to view the movie multiple times to fully enjoy its richness. Watch the supporting cast for treats. And the mother - never have I seen such a powerful character who never says a word. This movie is the stuff one would hope to see highlighted at Sundance. Give us more, Robert Lane!