Good Time is my favourite film of the 2017 Sydney Film Festival. This is a film that will be in my head for weeks to come, like some sort of visual ear-worm. No other film that I saw was this much fun or had this much energy. From frame one, to the final scene, everyone in my cinema was on the edge of their seat, either howling with laughter, or swearing from the tension and sheer absurdity of the film.
Josh and Benny Safdie are two independent filmmakers from New York, whose last film, Heaven Knows What was also a film that didn’t get out of my head for weeks after viewing it. This film is on a much grander scale than Heaven Knows What , and you can see what the Safdie Brothers can do on a larger budget.
The film follows Connie, a bank robber, and his mentally-handicapped brother, Nick. The two have a very special relationship, where Connie puts him first in almost every situation that they are in. After a heist goes wrong, Nick is arrested and thrown in jail, while Connie runs away. Connie knows that his brother won’t be able to survive in jail, and spends the rest of the film, struggling to find money to bail him out.
The first time I saw the trailer, I teared up a little. The trailer is a perfect snapshot of the film’s upbeat, yet harrowing tone. Even in the film’s opening scene, where Nick is being analysed by a therapist, I was becoming very emotional. Even now, I still don’t know why this movie hit me so much, or why I’m so fond of it. It seems to be almost infectious – full of images I cannot seem to get out of my head.
Robert Pattinson gives my favourite performance of the year so far, loaded with quirky mannerisms and giving such depth and layering to his character. This is one of the best character studies I’ve seen in a film this decade, full of subtle character arcs and motivations. One of the main themes and recurring ideas in the film is that of purpose. Connie believes that his purpose is to protect his brother, and looks down on other characters who he believes doesn’t have any motivation or goal in life. The cast of characters is like something out of a Tarantino film: acid-tripping criminals, Italian grandmothers, African-American drug lords – you name it.
One of the most disturbing aspects of their previous film, Heaven Knows What, was the flat, claustrophobic cinematography. In that film, there are almost solely close ups, taken with extreme telephoto lenses, so that the background is completely blurred. On top of that, they shot the film on digital and graded it so that the film looks very bland and flat. While this creates a very ugly-looking film, it is very intentional and unnerves the audience for the entire run time. The Safdie Brothers semi-repeat that feeling of claustrophobia in Good Time, except this time, there are still a lot of wide shots, and the saturated, neon colours provide a lot of visual eye-candy. Those tight shots are used in tense situations, and left me almost wriggling in my seat from the effect that they have. This film is also shot on 35mm film, and in the 2.35:1 aspect ratio, which makes it a lot more cinematic than their previous films, which seemed to take on a more documentary aesthetic.
The Cannes award-winning soundtrack by Oneohtrix Point Never (with guest vocals from Iggy Pop), is reminiscent of 70s and 80s action films, with pulsing synthesisers and growling bass lines. It does not only bring great tension to the film, but also emotional weight, and an odd sense of nostalgia from its referencing of old action film soundtracks.
At first, the films ending left me feeling a little confused, but over time, I’ve realised the true meaning and purpose behind it. This is absolutely a film that you must see on the big screen if possible, and one that I feel like I could watch it in literally any mood. The Safdie Brother’s next film is about the New York diamond district, and is going to star Jonah Hill, and will be executively- produced by none other than Martin Scorsese. I cannot wait to see what these guys will do with their future films, as their is so much potential to be seen in their current releases.
Good Time screened at the Sydney Film Festival
