Aubrey Plaza plays ferociously disorienting mind games in this wildly original genre-defying indie
Starring Audrey Plaza, Sarah Gadon & Christopher Abbott
Directed by Lawrence Michael Levine
Available on demand and in select theaters Dec. 4, 2020
Parks and Recreation’s Aubrey Plaza breaks out of almost everything she’s been in before for this ferociously disorienting meta-drama designed to muck with your head.
And muck it does.
It ends the same way it begins, makes you question pretty much everything about what you see, and really does feature a bear.
The movie opens with Plaza’s character at the edge of the dock at a lakeside house, gazing into the mist with an inscrutable look on her face. Then she gets up, goes inside and starts to write in a journal. This she does three times, the exact same thing, throughout the film; each journal entry is about “the bear.” The music over these scenes begins with Eastern, Zen-like, meditative tones, but then takes on a darker, more ominous feel.
Then the film backs up, or flashes forward, or otherwise plops us inside a car to watch the arrival of Plaza’s character, Abbie, at the house, a gorgeous, retreat-like abode of Gabe (Christopher Abbott), a musician, and his pregnant girlfriend, Blair (Sarah Gadon). Abbie says she’s an actor-turned-director looking for some kind of recharge, inspiration—perhaps—for her next project. Over copious amounts of wine, she shares various tidbits of personal information; how she hates getting compliments, she never learned how to cook, her mother’s dead, she doesn’t have a husband.
As it’s quite obvious Blair and Gabe’s relationship is a bit rocky, it doesn’t take much for Abbie and Gabe to end up together for a late-night splash in the lake. And just moments later, Abbie confesses that she made up all those things she said earlier. “I’ve been lying from the minute I got here,” she tells him.
Then things heat up to a boil with all three characters, a bear appears, and boom—everything fades to black. And just like that, the first part of the movie is over.
When it comes back and we get our bear-ings (pun kinda intended), the actors, character names and setting haven’t changed. But the situation is jarringly different, a kind of movie Mobius strip of everything we’ve just seen—everything looks the same, but twisted, turned over and inside-out.
This jarring, surreal shift introduces additional characters to the lakeside house, where they’re wrapping up a movie—also called Black Bear. And it’s not going well.
This audaciously original, wildly creative indie makes a provocative commentary on the creative process, about how every idea begins in a void, on a virtual blank page, and bringing a concept to completion can be a wrenching, pained process. It’s a tale of tortured artistry taken to new, inter-dimensional intensity, the primordial process of destruction as a part of regeneration, a snake turning on itself to eat its own tail.
Writer-director Lawrence Michael Levine, whose previous films include Wild Canaries (2014) and Always Shine (2016), also probes and pokes gender roles, ideas about feminism, relationships and abusive power dynamics. (It’s interesting that Plaza and writer/director Levine are both married to their moviemaking partners, with whom they have frequently collaborated.) And he’s challenging his audience to ponder what’s real and what might instead only be imagined, and how permeable the membrane may be separating the two. When the psyche does rip into reality, morphing into the physical world, could it be like a bear that’s been rummaging through the mind’s trash bin, now going on a rampage?
And if that bear gets riled up…watch out.
Plaza, best known for playing the deliciously deadpan April Ludgate on Parks and Recreation, has also been impressive in a variety of films, mostly kooky comedies (Mike and Dave Need Wedding Dates, Dirty Grandpa) and offbeat indies (Ingrid Goes West, Safety Not Guaranteed). But she breaks new ground in Black Bear by cannily chiseling a sizzling fissure that eventually erupts in a spectacular spew of razor-sharp, red-hot lava. You dare not take your eyes off her, and you’re constantly trying to figure her out. What’s her deal?
Abbott, who starred as John Yossarian in Hulu’s recrafting of Catch-22, is also strong in the dual roles of Gabe, as both a flirty spouse and a devious director. And Gadon—who appeared in season three of HBO’s True Detective—gives a fiery, multi-faceted performance that stokes the mysteries hidden inside this meticulously layered puzzle box.
Is Black Bear a dark comedy? A fever-dream relationship drama? An artsy cinéma vérité movie metaphor? A psychological horror show? All of the above? Yes…maybe!
“That was some game we played,” says Blair at one point.
Some game, I’ll say! I’m not exactly sure who won, who lost, or even what the game was. But the next time Aubrey Plaza want to play—anything—count me in.