I’d always been curious about Frownland (2007) ever since reading Roger Ebert’s review upon its release – it sounded uncompromising and aggravating, a punishing American indie “comedy”, the type of thing that would never get a cinema release (well, in Australia) and you would have to wait until an import DVD might be available at Planet Video (RIP). Over time, director-writer-editor Ronald Bronstein’s career has dovetailed with the Safdie Brothers as collaborators; from being the leading star of their film, Daddy Longlegs, to co-writing and co-editing Good Time and Uncut Gems. There are similarities across all of these movies with their anxiety-producing NYC-based energy, but Frownland also radiates even more as an unpleasant prospect without any recognisable stars or family dynamic to hang your sympathies on. Frownland follows Keith (Dore Mann, excellent), a hapless schlub who can never easily express himself; for him to say anything involves his body shifting and pacing about, his mouth undulating and opening without speaking, his skin sweaty and sticky, and his words stammering and confused. We see him deal with his depressed girlfriend Laura (Mary Bronstein) to no avail, get into passive aggressive showdowns about the utility bills with his musician roommate Charles (Paul Grimstad), and irritate his boss Carmine (Carmine Marino) as part of a door-to-door sales team who sell books of coupons and are transported to outer suburbs in a van. With its recent release from the Criterion Collection, the film’s 16mm photography looks great in the remastered version and Sean Williams’ cinematography captures the irritating vibes the movie radiates in this mundane, downbeat urban experience. Seeing recent interviews with Bronstein also inspired me to seek out Frownland; he’s obviously a smart guy reflecting on the miserabilist intentions of the movie, where he wanted to push an audience member’s capacity for kindness and empathy with a completely unlikeable, annoying protagonist. Why watch this then? This is definitely not for everyone, but I was laughing heartily throughout and felt something true in its worldview, particularly how people intentionally and unintentionally seek to destroy one another in small, everyday encounters. A key scene is when the movie follows the housemate Charles, who comes off as the sardonic, higher status one in the arguments he has with Keith, but then in Charles’ own attempts to get work, he is also belittled and made to feel like a loser. It’s a merry-go-round of pettiness and everyone gets their turn. I loved it. It’s like Eraserhead or The Driller Killer, but without any blood: just tears and snot, with the true horror being social interaction. Great synth score by Grimstad. Available to stream on the Criterion Collection. Recommended.
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