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Schnabel, who co-wrote the script with second-time director Russo-Young, has a natural, frazzled demeanor throughout that suits her character's desultory recalcitrance, and effectively plays straight to the few sprinkles of aggressive humor. (One stage director gives her notes on a purple, autoerotic monologue with hilariously Jewish, nuts-and-bolts-obsessed hyperactivity.) But the presumed goal of capturing a woman-child lost both in the otherworldliness of New York and the labyrinth of her own muddled mind becomes confused in a swirl of stilted supporting performancessome by mumblecore names like Aaron Katz and Joe Swanbergand aimless formal experimentation. (The "diversity" of media and aspect ratios hereamong others, windowboxed 8mm is used for ramshackle memories and pixilated miniDV for tetchy conversation and nightscapesnever escapes the flat, tinkered-with texture of digital video, and isn't varied with enough rhythm to meaningfully represent anything that's occurring in the plot.) A reflexive reference to the joys of DIY filmmaking toward the movie's close feels especially exasperating; Russo-Young and Schanbel's view of cinema is about as subtle as their perspective of behavioral therapy (A choice Freudian retort: "You get more treatment or you wind up behind bars!") An often masturbatory examination of hatefully insipid people, You Won't Miss Me is a veritable catalogue of the worst habits of today's American independent scene.
In partnership with actress Stella Schnabel, Ry Russo-Young's indie extravaganza documents, fragments and pieces together the life of twentysomething rebel Shelly Brown. She does drugs, goes to auditions, speaks with a faceless therapist after being checked into a psychiatric ward, woos her longtime best friend, has anonymous sex, fights friends, does drugs again, repeatedly calls her mother and engages in lengthy philosophical self-diagnosis. Characters float past the camera and through the life of the dissatisfied, aspiring actress in You Won't Miss Me, opening Dec. 10 at Cinema Village. The film transpires in a collage of five formats, mix of non-actors and professionals, puzzle of verit and scripted moments and countless soulful camera stares.
Since most films these days even partly aimed at a younger audience either tend to be stupefyingly patronising affairs or filled with tiresome, supposedly humorous winks to adult viewers, "Rare Exports" really comes as a delightful breath of fresh air. Jalmari Helander manages to get pretty much everything right, making the film equally suitable for children or adults by serving up borderline lunatic escapades with a commendably straight face. As a result, the film at times benefits hugely from a real sense of danger, thanks also to a handful of reasonably gory and visceral scenes early on.
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