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Jonathan Ogilvie, a filmmaker from New Zealand, is known for his works such as The Tender Hook (2008) and Lone Wolf (2021), a modern take on Conrad’s The Secret Agent. His latest film, a nostalgic romantic comedy set in the post-punk era of the 1970s, will open the International Film Festival Rotterdam (IFFR). It tells the story of a New Zealand teenager who navigates through his uncool school days while daydreaming about starting a punk band named the Daleks. He also spends his time at the local record shop, Middle Earth Records, and pines over a beautiful yet unattainable girl who looks down on him.
We will all be filled with nostalgic joy as we see familiar objects from our younger years, such as musical cues, stereo systems, and album covers. However, the sudden and dramatic reveal at the end without a resolution scene is a bit unsettling. The credits then acknowledge the autobiographical nature of the content, but it is not elaborated on. It feels like the story was cut short. Nonetheless, the overall entertainment value up until that point was high.
The protagonist of our story is a teenager named Angus, portrayed by Ed Oxenbould, who I recognize from his previous role as a child actor in the Australian movie Paper Planes. Angus’s brother Rory is currently in London, and their mother has recently gone through a midlife crisis and left, leaving Angus to live with his melancholic but amusing father Gordon, expertly played by the experienced New Zealand actor Marton Csokas. Angus becomes enamored with the arrogant and glamorous Holly (Roxie Mohebbi), who claims to be from London, but he may find a better friend in Kirsten (played by Auckland singer-songwriter Benee), a musically gifted woman who works at the pharmacy.
Oxenbould’s face is itself just right for this part: perpetually sporting a kind of uneasy half-smile, partly scared and baffled by everything that’s happening to him, partly excited, partly trying to display a super-cool ironic detachment from it all (Joe Thomas, from TV’s Inbetweeners and Fresh Meat, has a very similar expression.) It’s the kind of face that infuriates stern teachers and parents without meaning to, and is very bad at concealing inner hurt.
There are some oddly unusual moments: particularly when Angus is given permission to use a bass guitar for his debut performance by someone who requests to “take pictures” of Angus in return, resulting in a more humiliating experience than Angus or the audience had expected. This must surely be based on personal experiences; the strange occurrence is not further explored, but that only adds to the chaotic oddness of everyday life.
The movie struggles to fully capture the weight of its ending, but overall it is a charming and enjoyable watch.
Source: theguardian.com
