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Lines are crossed and friendships tested when friends Ben and Naomi grow closer together amid a failed relationship and a broken marriage.
First-time director Mitch McLeod has created a wonderful independent film in “Arc,” possibly the best to come out of Dallas in years. It follows a group of friends, some married while others are not, as they traverse the landscape of relationships and dating in this millennial age. We’re introduced to Ben (Joey Folsom), who’s relationship with Lisa (Marla Jo Kelly) falls apart while his friends, Dennis (Christopher Cassarino) and Naomi (Martha Harms) see serious cracks form in their marriage. Around them are a series of largely superficial relationships which all combine to test their friendship and loyalty to each other.
McLeod has assembled an excellent cast of newcomers, featuring Joey Folsom, who also co-wrote and co-produced “Arc,” as the hapless Ben. Folsom’s subtle expressions and vocal control on his sparse dialogue reinforce the idea of a man adrift in the modern world. His ability to communicate without speaking makes him a somewhat sympathetic character, though he’s not likeable at all. Harms delivers a brave and heartbreaking performance as Naomi, who seems to be a pawn without even realizing she is. While all of the acting here is good, Harms manages to flesh out Naomi with a wide range of emotions and actions. She should attract attention from other filmmakers. Cassarino’s Dennis is the beleaguered husband who can’t give his wife a straight answer. Harms steals the scenes they are in, despite his quality presence on screen. Each character essentially goes from one party or bar to the next, looking to get lucky, but never really finding any meaning. It’s as if they see the futility of it all, but have no real substantive way to cope. So, the cycle continues.
The storyline is deceptively simple and McLeod infuses each frame with a sense of thoughtfulness. What may seem to be a meandering tangle of lost relationships is layered with surprising depth. Don’t get me wrong, “Arc” moves at a very deliberate pace. It will bore some moviegoers who don’t engage in its themes. The dialogue is largely improvised with a solid framework provided by McLeod and Folsom. The result feels like Aaron Sorkin writing on downers with a lot more cursing. However, long sections of thoughtful action bridge scenes with dialogue. This technique works early on, but causes the film to lose some of its momentum leading up to the emotional climax. McLeod makes the mistake being too subtle with some of his themes. Ideas such as loss, friendship, loyalty and the connections we make with those around us get lost in arguments and drunken, pot-hazed parties. Everyone can find something to relate to here, the problem lies in connecting with a few basically unlikable people. For those willing to dig below the surface events, watching “Arc” is a rewarding and thought provoking experience. It’s also worth mentioning that the soundtrack provides an excellent selection of independent, lesser known artists. McLeod often lets the music take over and carry the film, and these songs give weight to action on screen.
Producer and editor Marc Rouse has pieced together a story with stops and starts, but that is in keeping with the ideas behind the film itself. Life in general ebbs and flows with the connections we make. For these characters those connections come in simple and surprising places. I recommend taking the journey with Ben, Naomi, Dennis and their friends because most of the risks, such as improvised dialogue and allowing so much screen time for music, pay off enormously. As with the fading generations of today, “Arc” wears its flaws boldly and presents us with many more rewards in return.
For more information about “Arc,” check out the Official Facebook page
