Things Will Be Different

“Things Will Be Different” is a story about a brother and sister criminal and their methodology of committing crimes and escaping them through committing time and finally locking up into a farmhouse where the crime is committed and begin to feel as if they are prisoners stuck in a space in time where there is no where and no who to look at as a judge.

Michael Felker’s debut feature film. This and that, what collaged in a prism non-linear, alongside Rebeca Marques, who worked as a co-editor * who produced and directed – Action thriller, Puzzle movie, Relationship drama and Sound light show all in general. While it does make sense within the confines of the structure using the comic as such, it generates an onscreen manner how kids will catch their attention without even speaking. It looks like it is going to end in a very obvious way, but it then does a 180 and introduces elements that place the film within a whole new frame. After about fifteen minutes, it does this yet again, and yet again.

Of course not every element works the same for every individual – the worst aspect of the film is its writing although the direction, editing and acting of the movie are all commendable and perhaps press the conceptual reset button a few too many times but of course your mileage will vary. The best part is its control over most of the tone and pacing, and the whole thing comes off with a confidence that is too tame to warrant any of the specific issues one-of-a-kind might have.

To move on, I think this statement of cinematographer José Luis Alcaine also applies to Pedro Almodovar: ‘a film should not only be able to deploy emotions, it should be able to provoke them to dance.’ There are three ‘passage of time’ montages that come among the finest I have seen, and in the cutting through out, tension is created not only through speed and noise but even through stillness and silence. There isn’t really too much music in ‘Things Will Be Different.’

Rather, probably ninety percent of it plays out in sound that is actually there, i.e. sounds that are naturally present in places where the characters are, for instance, in a clothes starched basement or eerie woods. Films that do this put you on edge at every weak detail: the only sound you can hear is someone’s foot squeaking on the floors of the house or from the farmhouse, a place situated at the center of the story where cornfields abound, a subtle yet peculiar damp sound that can actually be something or someone quietly moving in and out of the cornfield. This main set is so obsessively and however strategically repetitively explored that it begins to feel like an island of dirt and dust somewhere in the American plains which feels sujin sha – a zone that can feel either metaphoric or really tangible depending on the events that unfold. (One does not have to exert their imaginative faculties very far to suggest that this particular narrative might as well be restaged as a play.)

It’s probably for the best that you don’t know every backdrop of the film since for example, it would be exciting to find out how it all ends, but also because in the end, perhaps, the film has more of a focus on feelings and pulses rather than through story and structure. I can tell you that brother Joseph (Adam David Thompson) and sister Sidney (Riley Dandy) get to the house with rifles, chase off three men loitering in front, and enter the house to perform an act that is illegal and moreover is done under violations of space and time unless Christopher Nolan or Alain Resnais’s “Last Year at Marienbad” were concerned. The template that I outlined in my first post- describing this as a crime drama where the protagonists misuse time not in flashbacks but in travel, really works for some ten minutes or maximum for fifteen minutes. The story turns out to be bigger than that.

We start to get small pieces of the ‘truth’ about Sidney and Joseph. They are not special brother and sister in blood relations. The narrative given does portray Sidney as a foster child or someone who essentially turned out to be more of a sister. It’s the same playful, almost rude absorbable energy of sibling that when they walk is like cats raised by the same harsh mistress. Both are armed with sniper rifles and are quite capable of inflicting damage armed with these weapons. They are the axis at which everything rotates, which provides emotional leverage to the film to sail through the more difficult stages.

Not only do Thompson and Dandy display great physicality during combat and in shoot out scenes, they also demonstrate their physical acting skills during mundane activities such as sharing a meal or talking about their life history. It is impossible not to believe such convincing chemistry that they are portrayed as actual siblings in the press notes. They interrupt each other and try to finish each other’s sentences, and sometimes when they argue, one of them gets so worked up that a couple of tears roll down their cheeks. You know these people’s affection is so primal that one expects that kind of feeling in lead actors of a movie that is so musical in its vigorous pace that one wants to believe it is being conducted rather than directed at breakneck speed.

Although I don’t dispute to the verhepatness of drama basing on stories, or “content” as it is often referred to, I usually make a drum roll on this issue in here. “Things Will Be Different” is a good case in point. It relates to what happens to the characters, and what are the consequences and how all these twist and turns of the story you see in fragments come together within you at the end.

But it is also about such things as how these people feel when they are faced with the perhaps most surreal and shocking realities of what their position is, and what has happened. The feeling is of high emotions together with these characters. It stands back and keeps a degree of objective analysis that can come from reviewing one’s work from the outside. You can feel the same excitement that the artists must have felt during the work, when it was opened to them but not yet handled, absorbed by the spirit, and not even realizing what of great turns it will be.

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