At Sundance 2010, I had the pleasure of seeing a low-budget drama from Seattle called BASS ACKWARDS which was a part of the brand new NEXT category (reserved for “true” independent productions). Given how much I loved the film, I was very eager to research the 2011 NEXT selections and, in doing so, found another low-budget drama by Seattle filmmakers had been selected. While there are similarities to be drawn between the two, there is nothing that could have prepared me for the raw honesty and emotional intensity of Megan Griffiths’ THE OFF HOURS.
Set in a Pacific Northwest highway diner, the film’s title references the hours when our characters aren’t working and, thus, must distract themselves from one common truth: life in purgatory. Whether through some grave misstep, an unknown evil, or just simple human weakness, our characters–waitresses, truckers, struggling musicians, et al–are unable to move forward in life. Yet, as is often the case in life, their means of distracting themselves (alcohol, sex, etc.) from their own unhappiness is largely what has them stuck there in the first place.
There are many remarkable things about the way Griffiths composed her film, but what really makes it sui generis is the deceptive simplicity of the plot. People who only watch movies with pirates and superheroes may find it slow or perhaps even boring, and there are certainly long moments of silence and apparent inacitivity. However, some of the most profoundly affective character maturity can often be communicated through the restlessness and fragility of silence. In fact, it could be argued that all of the most meaningful plot elements in OFF HOURS are implied, rather than spoken.
Lastly, if there is to be only one thing that film lovers of all walks can appreciate, it is the cinematography of Benjamin Kasulke. In my experience, there are beautiful films and then there are beautiful films that express purposeful beauty. Shot digitally with a Canon 5D, the film offers a narrow depth of field that is focused more often on the characters than on the changing world around them. Plus, the somber, overcast complexion of Seattle in the early Spring plays such a huge role in creating the film’s intended atmosphere that it is practically a character, itself.
As a lover of both cinema and the environment, I applaud the filmmakers for using all sustainble productions methods, which make THE OFF HOURS one of the first green-approved films. I also want to thank them for getting me into a totally sold-out screening and, thus, allowing me to see a work of art that nearly drove me to tears. THE OFF HOURS is a very special film that will make you want to break those bad habits, rethink who really cares about you most, and maybe even rediscover your dreams.
In summary: the quintessential Sundance film, an inspiring drama from an exciting new filmmaker, and a work of art unlike anything you’ve ever seen before.
Tags: bass ackwards, drama, low-budget, megan griffiths, next, seattle, sundance, Sundance 2011, sundance film festival, the off hours, washington
