Ivan Kander
As a filmmaker, I’ve always struggled with how to portray nuanced topics on screen. My own work tends to over-explain: I write too much dialogue or belabor scenes where the intent is too obvious. I say this not to self-flagellate, but rather to elucidate how impressed I am with creative duo Peter and Caroline Falls for doing the exact opposite. Their film, Unlimited World, is subtle, naturalistic indie filmmaking at its finest.
Codependency is an intricately layered topic that is hard to relate on a visual and narrative level. After all, it’s not often a noticeably toxic thing nor does it lend itself to the tropes or cues frequently used to portray a “bad” relationship on screen (e.g. bombastic arguments or overt physical abuse). How does one go about exploring something so deceptively nuanced yet still make it dramatically engaging?
In the case of Unlimited World, the solution to the above seems to stem, at least on a basic level, from lead actor Cailee Spaeny (Lars). Spaeny is terrific and anchors the film. Character interiority is a notoriously difficult thing to show on screen, but we get so much meaning from every look and each brief interaction as she navigates the ups and downs of this particular relationship. After all, Perry (played by director Peter Falls) is not a bad guy, right? Sometimes he drinks too much, but other than that, he’s pretty chill…
Cailee Spaeny is a captivating presence on screen in Unlimited World
The film seems to expertly showcase dependency and justification: the concessions one will make in a relationship while ignoring the inherent toxicity that is bubbling just beneath the surface. More to the point, it feels like a reflection on the complex foundation that drives the actions of all humans: no one’s identity is as simple as Lifetime movies would have us believe. The broken phone/tripod attachment becomes a subtle bit of symbolism. While in contrast, the discovery of a homebirth next door (“can’t they keep it down!”), feels like a surreal, yet resonant climax as Lars reckons with her current lot in life. This is all conveyed in a naturalistic visual style that is reliant on hand-held camerawork and an ample use of close-ups.
As director/actor Peter Falls relates to Short of the Week:
“Working closely with DP Adam Gundersheimer (using an Alex Mini), AD Tyler Young, it became apparent that a claustrophobic, almost masters-less effect was necessary to relay the story of suffocation and loss in a codependent relationship. We stayed away from establishing shots as nothing is established in a relationship with no communication.”
The resulting film is intimate and personal. The short lacks a definitive sense of conclusion (as is common when broaching this tonal aesthetic in the short form), but that seems intentional in regards to this subject here: there are no clean breaks or neat conclusions for those so inherently tangled with each other.