Actual People

Look out, here comes a new generation of American indie filmmakers; with distinctly more diverse casting than ever before, even a decade after Dunham's "Girls" and Greta Gerwig perfecting the genre and now helmihg the director's stick, "Actual People" puts on its predecessor's old proclivities for too-long dialogues, badly lit sets, unimaginative framing and hand-held cinematography. What used to actually mean something aesthetically 15-20 years ago, wears itself here like pure creative laziness. You only get glimpses of genuine originality through IG stories-like fragments, but they are far and too few to really give a feeling of intention.

Debut feature of writer-director-star Kit Zauhar that follows young Riley, a philosophy student, surfing the challenges of becoming an adult while she is in her last year at the university.

The cinematography of the movie is very naturalistic with a handheld camera. Owing to its aimless quality, it feels more like a diary experimentation than a cohesive idea taking shape. According to Kit Zauhar, "the structure of the narrative is autobiographical, but the actual like events that feel in the timeline are for the most part not." In a Q&A, she explained she had a crazy last week at college that culminated in her going back to Philadelphia to pursue a man who was not interested in her.

In the movie Riley is often partying here and there with friends, in the apartment she shares with a man she spent one night with, talking to her therapist, or visiting her family. Zauhar uses TikTok-style fragments of videos intersected throughout the movie as a way to convey her generation or the experimental, independent spirit of the movie, although the result might be peculiar. Actual People is a movie that covers themes of an uncertain future, parental pressure, modern mores, and everything relating to young people of this generation. It tries to be humorous, but most of the time the humor feels forced and it isn't funny. The problem is that, although it takes form as it progresses, it still feels like watching pieces of videos disjointed. It has good moments here and there, especially the pants episode and the therapist session, but they never add up to a complete film.

The movie is so relatable to me and I really enjoyed the dialogue. There were some clever lines, as well as the raw awkwardness of their interactions. I see myself in Riley's character with college, friends from back home, parents, and the existential crisis of graduating and having to move on into the "adult world." The movie is a little slow, but it is funny and awkward and Riley's character is hilarious. Her final breakdown is so real and personal and she portrayed it so well. I loved the characters and the script. The movie gave me a warm comfy feeling and made me feel seen as a young POC post graduate with absolutely no idea what I'm doing :-)

Really enjoyed this film via Slamdance 2022.

I could really empathize with the main character and also was impressed that she wrote and directed the film.

Great work!

Slamdance Film Festival 2022 Greetings again from the darkness. Spicoli (Sean Penn in FAST TIMES AT RIDGEMONT HIGH) was the poster child for stoners in the 80's. Julie (Deborah Foreman in VALLEY GIRL) taught us the annoying Valley Girl speech patterns, some of which have 'like' stuck around. The Dude (Jeff Bridges in THE BIG LEBOWSKI) epitomized slackers, and Benjamin (Dustin Hoffman in THE GRADUATE) showed the messiness of post-graduation aimlessness. We can only hope that following in these era-defining cinematic footsteps was what writer-director-producer-star Kit Zauhar had in mind with her character of Riley - the prototype of a stereotypical whiny Millennial.

Riley is an Asian-American Philosophy major with only a couple of weeks left until graduation. She's also rudderless, frightened by the demands of independence, and unaccepting of society's structure and demands for adults. She was recently dumped by her boyfriend of three years, and is now aimless and unable to function and effectively finish the miniscule amount of schoolwork remaining in order to graduate. Riley seems only capable of whining, while she turns her attention (such that it is) to finding a new soul mate. Somehow this supersedes her need to complete college and move on with life.

The approach she takes is all about partying. Drugs, alcohol, sex, and cigarettes become part of her daily life. Friends come and go, and cringe-inducing conversations revolve around things like Boba tea, race relations, and vagina yogurt. Riley becomes obsessed, or at least misdirected, with emotions for one particular young man. She believes that their one-night stand combined with their sharing bi-racial backgrounds and a hometown of Philly equate to their destiny of togetherness. She's blind to the obvious disconnect with his feelings.

What we have is Riley, an aimless protagonist who seeks answers, while paying no attention to the life lessons she's receiving. Supporting work is provided by Scott Albrecht, Randall Palmer, Isabelle Barbier, and Tanya Morgan. The latter has one of the film's best scenes as a therapist/counselor for Riley. The stress of senior year and the adulthood that immediately follows graduation is certainly a hefty burden and one that weighs on many students. Unfortunately, Riley offers us little to care about as viewers. By this stage in life, being without a partner should not be debilitating. She's had four years to focus on what comes next, rather than who. We see Riley reading a Miranda July book, and it would be understandable if filmmaker Zauhar models her approach after the talented Ms. July, but the incessant whining and lack of backbone would probably not be found in a July project. Riley is tough to watch, especially when her crush describes their time together (in the film's best line) as "special in the moment, not significant." We hold high expectations for Ms. Zauhar's future as an actor and filmmaker, and let's hope she's learned her lessons better than Riley.