Joe Swanberg’s latest mumblecore film examines the relationships of three men, Tim, Chris, and Alex, and their addiction to technology. Swanberg is considered a forerunner of the mumblecore movement, a term given to films of the new millennium that are independent, usually shot digitally, and portray the lives of twenty-somethings through improvisation and non-professional acting.
LOL of course fits that criteria, delving into how the men seek satisfaction in internet relationships, cell phones, and other technology. As if the film’s title wasn’t indicative enough, it’s clearly a film for the twenty-first century, though certainly not for everybody.
Along with the staples of mumblecore films, Swanberg’s own flavor permeates the film. Artistic, uncomfortable, and somewhat gratuitous nudity attempts to put the audience directly in the mind of the helpless men. Swanberg, also headlining the cast as Tim, joins C. Mason Wells and Kevin Bewersdorf as the film’s trio. The digital, cinema-verité style of the film is complemented by these non-actors, creating scenes that are tonally perfect. Many are quick to criticize the mumblecore movement for realistically dull portrayals of often seemingly pathetic characters. Swanberg clearly avoids any such pitfalls with a compassion for all everyone on the screen, even if just another girl on the internet.
That said, there certainly are faults within the technique of this film in particular. Since it deals with so much online video content, the entire movie being filmed digitally de-emphasizes these portions. Additionally, the way the film is edited is certainly distracting, with several jump cuts just within one scene, or even one shot. It breaks up the film and causes it to lose some grounding in reality, when all Swanberg was attempting to do was make it feel more like a documentary. As for the cinematography, despite its simplicity, at times it feels like the issues and commentary are being forced. Several shots indiscreetly force us to look at women the way these men do, which causes discomfort and, instead, took me out of the mind of the characters. It is this manipulation and heavy-handedness that diminish the impact of the film, along with the limited scope and somewhat obvious message, that is.
Still, there is quite a lot to be said for young filmmakers like Swanberg who certainly take risks with subject matter, if not with budget and style. If it is not the content that shocks, then certainly the way it is told will be refreshing to those bombarded from Jerry Bruckheimer movie coasters. And if neither the subject nor the approach shock you, then at least the film is sure to leave you exposed and informed about the way these twenty-something truly live in the digital age. The film is as realistic a depiction of modern communication as one can imagine, seeping with relevance and brevity.
It is because of the passion exhibited by Swanberg in
LOL that my curiosity about the mumblecore movement is at least piqued. Unlike the now stereotypically categorized indie dramedy a la
Little Miss Sunshine, not a shred of contempt can be found; nor does Swanberg take pleasure in the struggles of others. I truly got the sense that Swanberg was almost too familiar with the world he portrays in the film; it frightened me to consider putting myself in his position. Whether or not I’m ready to sit down and watch another of Swanberg’s explicit tellings (
Kissing on the Mouth, Hannah Takes the Stairs) is another story, so my excitement is certainly restrained.
LOL is an intriguing if not captivating entry for anyone looking to explore modern, emerging film techniques.