Charlotte Sometimes

There is a genre that has been meditated on by masters like Rohmer, who shows us cruelty; Truffaut and Nichols, who show us charm and wit; Wong Kar Wai, who injects energy and boldness; Rafelson, who reveals the scars and dirt under the nails of his characters... Eric Byler has not only arrived at their level with Charlotte Sometimes, but has defined an entirely new standard for cinema using an Asian American palette and a fascinating directing style. Byler's tiny moves project microscopic human emotions involving love and pain that scream off the screen. This is an art piece that, given the respect it deserves, could revive a new wave of consciousness in terms of the way American cinema treats human interaction (on a level so close to reality that it frightens us). This film is also another push AGAINST a gate that constrains Asian American cinema to concentrate on it's Asian-ness, rather than its Human-ness. Please watch this important film.

"Charlotte Sometimes" addresses questions of love, intimacy and sex in ways that I've never seen before. The movie's characters say more by what they DON'T say rather than what we do.

Like the best movies, the script is cut to a minimum so that we may drink in how the characters are reacting rather than what they are saying. Sure, it's not a perfect film but it's very good.

I just saw this film on Sundance channel (TV). I thought it was an enjoyable film, the main character is a passive intellectual but I've known people like him and he rings true to this time (around 2002). The dialog is very believable, many things that are said aren't true, though the characters might want to believe they are.

These characters seem to be L.A. "slackers", though at least we see the main character at work upon occasion. He doesn't seem to take it very seriously, and his garage is the most laid back garage I've ever seen. The two girls seem to do little but travel and have sex. Would this story make more sense if it was set in Hawaii as opposed to Los Angeles? Perhaps.

Its a languid film but I think I learned something real from watching it. 7 out of 10.

This was a good film, but it has flaws.

Visually it's got problems because much of it was shot on digital. I suppose they ran out of money, but it's a shame they couldn't use film. There were some interesting shots but the discipline of film would have had them making sure the light readings were carefully evaluated rather than what happened: the typical low quality of digital, but with even muddier shots than normal for digital.

Now, on to the story: very interesting plot. And interesting characters. I felt they were real people. But the two actresses did a better job than the actors. Not that I didn't think the Michael character was that unbelievable. But he wasn't given lines to show any range of emotion. Of course his character is SUPPOSED to be subdued and pensive, but all people have a range of emotions within their personal boundaries and the Michael character didn't test them.

The different takes on sex give you a lot to think about. But there could have been a little more irony/human condition/redemption...something in the story to give us more to ponder about. But there WAS something there. I left the theatre thinking about how there are more chaste individuals and more "alpha" individuals but how they can sometimes drift into the opposite directions. Specifically in this film how Michael unexpectedly responds to "Do you want to make love?" with "No. I want to f*ck you hard." Contrast that with the sexually confident Justin, who has to deal with one of those "criers after sex" on a one-night-stand and contemplate alone in a car later just what he lost with his current girlfriend.

6 out of 10 because it kept me thinking and I'm confident that both the director and actor/actresses have the talent to create even better art in the future.

Oft-remarkable, the lone flaw here is its' energy level - with very impressive performances, and through great use of shadows and silences, CHARLOTTE SOMETIMES often generates an unforgettable tension, but this isn't sustained effectively 100% of the time. Aside from this complaint, this is a fantastic film - subtle in its' story, the characters reveal themselves slowly, and come across as real people, with some very real dysfunctions. Eric Byler's direction is careful, measured and free of gimmicks; and the story is notable as a story with an Asian-American cast that isn't about ethnicity, but instead zeroes in on general human dilemmas. A striking and strong debut (and a GREAT model for non-white American filmmakers), this film is worth seeking out.