Charlotte Sometimes

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.

CHARLOTTE SOMETIMES tells the story of Michael (Michael Idemoto), an automobile mechanic that rents part of his converted house to Lori (Eugenia Yuan) and her lover Justin (Matt Westmore). Lori and Justin's relationship is based almost entirely on sex, so after their frequent coital encounters, Lori finds herself knocking on Michael's door in search of emotional intimacy. Lori and Michael talk, watch videos and basically just hang out together. They are friends, but clearly Michael is in love with her.

So Michael doesn't have to hear the sounds of Lori and Justin's love making, he often escapes to a local bar for a drink or two. One day, Lori asks Michael if she can fix him up on a date. He declines.

On a subsequent visit to the bar, Michael meets Darcy (Jacqueline Kim). Intrigued by her, Michael begins to spend time with her. Although Darcy's clearly interested and Michael's attracted to her, he decides to wait for them to have sex. This is true despite that fact that Darcy tells him that she is going out of town.

While Darcy's away, Michael examines his feelings toward her and learns more about her in the process. We also discover that things aren't quite what they seem.

In Eric Byler's film, which he wrote (based on a story by Byler and Jeff Liu) and directed, the basic situations are set up very nicely. There isn't the compulsion like some new filmmakers to explain every detail. On the other hand, some of the dialog is obvious, especially when it comes to Michael's expression of his feelings toward Darcy. However, given the nature of Michael's character, that's not a significant shortcoming of the script. A major logic problem that develops at the end is a problem. It causes unnecessary confusion in the final act of the film.

In terms of character, Michael is much too passive. Rather than show some initiative, he waits for others to take action before he does anything. Simply put, there is no fight in him. As a result, it's hard to connect with Michael on an emotional level. This is really a shame, because being in love with a woman that only wants to be your friend is a situation in which most men can relate.

That aside, the other main characters are pretty much on point. Justin is a self-absorbed ladies man that is unwilling to share himself emotionally. Lori is the pretty and sweet girl that always feels unsatisfied in relationships because she's always attracted to emotionally unavailable men. There's something very different going on with Darcy, but you'll have to see the film to find out.

Overall, CHARLOTTE SOMETIMES presents a very worthwhile scenario, but doesn't live up to its potential. For those looking for an intelligent film that presents its characters in interesting ways, it is definitely worth a look. It features an attractive cast with generally strong, believable performances. I just wish Michael's character had a little more fire in him.

The film is nominated for two Independent Spirit Awards. One is for the "John Cassavetes Award" for best feature made for under $500,000. The other is for "Best Supporting Female" recognizing Jacqueline Kim's fine performance as Darcy.

While not a great film, CHARLOTTE SOMETIMES is better than a lot of what Hollywood has to offer. It's also an apportunity for audiences to see some fresh young talent in a film with something on it's mind

Not for those with short attention spans, this movie builds its characters slowly and methodically, with attention to telling visual detail and realistic dialog. Nevertheless, it's a very sexy movie, though not in a lurid sense. Even its most melodramatic elements are so well-grounded that nothing comes off gimmicky or cheap, and its shot-on-video photography is utilized intelligently and intuitively, with a surprisingly broad pallet of colors and textures. With such an overall understated tone, it's easy, on first viewing, to not notice the movie's technical suppleness. Forget the ethnic makeup of its cast, or its low-budget market niche. This is a masterpiece of character study and adept film-making.

I don't think this is a film unique to Asians, it just so happened that the characters are Asian. There are hues of cultural family/generational expectations, like the scenes of Michael and his aunt. The dinner table scene somehow reminds me of writer-director Mina Shum's 1994 "Double Happiness," which included Chinese-Canadian family dinner scenes with Sandra Oh in the lead; also brings to mind director Wayne Wang's 1985 "Dim Sum: A Little Bit of Heart."

Overall, I felt there are similarities in filmmaking style between Lynne Ramsay's "Morvern Callar" and Eric Byler's "Charlotte Sometimes" - the value of quiet moments, sparse dialog scenes, minimal lighting and silhouette shots; depiction of lonely feelings, alone-ness all by her/himself; loving yet not openly/readily showing so…secrets, pains, longings kept within. The storytelling approach is resonant of each other: not revealing it all to the audience, yet using music - here Byler has included songs by Cody ChestnuTT, to set the pace and tempo of the film. The presentation of relationship psyche is mature - the brief exchanges come across natural and of everyday ease. Yet, yes, it does feel like a thriller, emotion-wise. It's a tug of war. There is sexual tension. The sex in bed scenes - may be as sexy and suggestive as cable late nights, but it's not pornographic. Its camerawork integrally delivers with the soundwork - the grunts and noise of lovemaking are not forced but can be tantalizing.

Secrets and lies - yes there are: the relationship between Michael the quiet mechanic who reads (also the landlord) upstairs and Lori the pretty actress neighbor & friend downstairs; the relationship of Lori and Justin (her bed fellow and live-in boyfriend); the ménage à trois between Michael, Lori and Justin; the relationship of Michael and Darcy the stranger; the relationship between the two women - Lori and Darcy (or Charlotte sometimes); the other triangle of Michael, Darcy and Lori, and not to miss the Darcy and Justin moments. On the surface, simple and quiet as Michael would have it (seemingly so) - there are a lot goings on what lies beneath.

"Charlotte Sometimes" may not be for everyone (NFE), but it's definitely a formidable mature feature film first from w-d, co-editor, and co-producer, Eric Byler. Bravo to him and the actors and crew of this film, and to VisionBox Pictures for taking on the distribution.

For contrast, try w-d James F. Robinson's 1998 romantic fantasy: "Still Breathing" with Brendan Fraser and Joanna Going. There's also w-d Alan Jacob's 1994 down to earth fairytale of a relationship: "Nina Takes a Lover" with Laura San Giacomo and Paul Rhys. Both I've comments posted on IMDb.

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.