Noam Thomaschoff delivers a quirky comedy reminiscent of Taika Waititi and Wes Anderson. Noam, however, delivers a raw cast of characters and dialogues that establishes, though never exposes, the quirkiness and escapism of theater troops. It is both the stereotype and the reality of immersive theater, complete with shakespearean language and gestures.
The main characters are banished from New York and move to Fargo, bringing along their trunks of costumes and theatrics. They land before an actual theater, a potential new home for a new ensemble by way of competition between two theater groups. The contrasts and interactions with the locals are portrayed with naturalness and empathy. They win over the local residents and the competition judges to call the renovated theater home, almost.
In the deeply moving climax, the reality of life and changing relationships is exposed, ironically, in the style of immersive/improvisation theater for the final skit in the competition, shakespearean language and all. Noam delivers this moment with what can best be described as exaggerated subtlety, the dramatic gestures and speeches delivering a heartfelt cataclysmic moment in the young couples journey.
As this is Noam's first feature film, there are creases to be ironed, scenes to be re-edited, and superfluous sequences to be deleted. But, then again, it is the rawness and the pouring out of the guts spirit that delivers the narrative that makes this gem of a movie so special.
The main characters are banished from New York and move to Fargo, bringing along their trunks of costumes and theatrics. They land before an actual theater, a potential new home for a new ensemble by way of competition between two theater groups. The contrasts and interactions with the locals are portrayed with naturalness and empathy. They win over the local residents and the competition judges to call the renovated theater home, almost.
In the deeply moving climax, the reality of life and changing relationships is exposed, ironically, in the style of immersive/improvisation theater for the final skit in the competition, shakespearean language and all. Noam delivers this moment with what can best be described as exaggerated subtlety, the dramatic gestures and speeches delivering a heartfelt cataclysmic moment in the young couples journey.
As this is Noam's first feature film, there are creases to be ironed, scenes to be re-edited, and superfluous sequences to be deleted. But, then again, it is the rawness and the pouring out of the guts spirit that delivers the narrative that makes this gem of a movie so special.