SXSW FILM 2014
By Don Simpson | March 18, 2014
Director: Nick Singer
Writer: Nick Singer
Starring: Christopher Bonewitz, Emma Morrison-Cohen, Brittanie Bond, Liam Ahern, David Rudi Utter, Hope Alley, Chae Munroe, Shane Henderson, Alana Greco, Cordelia Blanchard
Nash (Christopher Bonewitz) finds himself floating listlessly in life following an emotional break up with Eliza (Britannie Bond). Not proud of his day job as a plumber, it functions as a form of self-punishment, as if Nash is sentencing himself to a life of trudging around in flooded basements until he can get his shit together. Nash aspires to become a writer, but he seems too dismayed by depression to do anything creative. Instead, Nash would rather drown his sorrows with alcohol and forget his hardships with meaningless sex; while what Nash really needs is to find a way to get over Eliza, but instead he finds himself getting pulled closer and closer to her.
Told in three chapters, each relating to a different month, Nick Singer’s Other Months works as a poetic character study that visualizes Nash’s prolonged existential quagmire. The three distinct moments in time play out like variations on the same theme. The endless circle of nightclubs, parties and bedrooms does nothing to mask his sadness. Alcohol seems to be Nash’s only sense of release, and its certainly not a healthy one. The title of Singer’s debut feature is incredibly fitting, as he chooses random moments (the “other months”) in Nash’s life, while purposefully avoiding what we might expect to be the milestone dramatic moments. Singer allows us to witness bits and pieces of integral moments of Nash’s life. The one night stand that opens the film is a perfect example of this. Other than the nightmarishly surreal sex scene — which is presumably a dream — we are left to piece together our own guesses as to what might have caused their morning after to be so uncomfortably awkward. Even Nash’s fleeting relationship with Sofia (Emma Morrison-Cohen) is so fragmented that we never really know what happened between them. It is not without purpose that the most complete scene is Nash’s bourbon-fueled breakdown in the third segment, but even that sequence is edited in such a clever way that Singer is communicating to us that we are missing parts of the scene.