Written and directed by Mas Bouzidi, on the last day at the closing Royal Alamo Cinema, employees, outcasts and oddballs cross paths in interwoven stories of rejection, redemption, and fate. Starring: Rob Riordan, Jonathan Price, Lana Rockwell, Steven Ogg, Robert McAndrew, Max Madsen, Josh Hamilton and Michael Madsen.
From the title and the synopsis, it’s very clear what sort of film Concessions is going to be, going all in on the indie, cinephile vibe with a quirky edge, a deadpan sense of humour and a penchant for the random, and Mas Bouzidi does not disappoint. It’s everything you think it’s going to be, in a really enjoyable way. Kicking things off with that highly nostalgic aesthetic and making it as film fan friendly as possible with references and even the directorial style itself. Bouzidi really takes into consideration iconic moments of cinema, and employs those kinds of movements and editing (by Erin DeWitt) to build that influence of a cinema-lover.
The vibe is reminiscent of the 2017 documentary At the Drive-In, holding that film fanatic atmosphere while adding in a touch of sadness at things coming to an end. It holds just the right level of depressive energy mixed with a nicely realistic awkwardness and underlying resentment, framed in a comedic manner. It’s that classic stuck in a rut feeling but realising that the people around you and the experience were more meaningful than you gave them credit for. It’s a simple story, that’s a little bit sweet, a little bit weird and meanders in the best of ways. Of course, it also throws in plenty of strange delights and surprises, like its Taft musical.
Bouzidi’s writing captures an almost modern Shakespeare edge, it tends to land into rambling yet somewhat rhythmic monologues. Particularly when it comes to Rob Riordan’s Hunter who feels like your typical film bro who likes to weaponize his cinema knowledge into a debate. It’s a defence mechanism of sorts, pushing all of his negative energy towards his own life to the outside so he can refrain from acknowledging his stagnancy. Which sounds like a lot but is actually quite an everyday, relatable experience.
Whereas Jonathan Price’s Lorenzo is the positive element, trying to help others find the value and think about what they want. He’s kind and perhaps not practicing what he preaches. Then you’ve got Lana Rockwell who’s the middle ground, she’s cool as a cucumber as Deana, she’s got a classic apathetic charm yet still communicates that she’s going to miss them when they’re gone. They’re a nice trio of young people figuring things out but then you throw in the unknowns with the overtly stressed and ready to blow manager played by Steven Ogg. Plus, the aging stuntman looking to relive the good old days with one of the films he starred in, played by the late Michael Madsen and they keep a great variety going.
Concessions feels as though it achieves exactly what it set out to do, create an indie, cinema inspired adventure into this weird little work-family as they say goodbye. It’s got a nicely odd and random touch, but it never goes overboard, Mas Bouzidi has a good sense for knowing how not to cross the line of weird to wacky. There’s a great, fairly intimate cast at work, there’s a lot going on with many background actors, but it still creates that feel of a tiny community. It’s aiming for that indie darling vibe, and it hits the target.
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