A Review of ‘A Weird Kind of Beautiful’: An adequately gripping reunion after the death of an amoral cameraman
A reunion of school friends after the death of a peer leads to astonishing revelations, resentment and anger.
‘A Weird Kind of Beautiful’: An adequately gripping reunion after the death of an amoral cameraman
Cast: Mia Challis, David Hamzik, Eric Hawrylciw, Savanah Joeckel, Brittney Rae
Critic’s Rating: 3.5 Stars out of 5
Director: Gabriel Mayo
Duration: 1 hour, 20 minutes
Genre: Drama, Mystery
Language: English
Release: 2025
What’s it about?
A reunion of school friends after the death of a peer leads to astonishing revelations, resentment and anger.
Review:
“Sometimes you never understand why people do what they do.” Such a quote from A Weird Kind of Beautiful captures the essence of this intense drama about a handful of former high school friends who meet after the death of one of their peers. The deceased man in question triggers scandal and guilt thanks to his prized procession: a video camera. Through this item, he uncovers shocking truths about his old schoolmates - some from beyond the grave. The convergence of David’s circle of friends immediately after his funeral is marked by mud-slinging and skeletons tumbling out of closets, as revelations unravel and confessions abound. Though conversations filled with dark pasts and dirty deeds take place at one location and at one time, this unique little film evades being too talky or too stagey. It’s not quite in the category of a classic, but here is a celluloid venture that daringly tackles themes of voyeurism, narcissism, perversion, jealousy, remorse and retribution.
Through the course of this emotional rollercoaster, film buffs are likely to recall earlier mainstream movies with similar scenarios like Who’s Afraid of Virginia Woolf (1966), Last Orders (2001) and Rachel Getting Married (2008). Like in those movies, here too there is a small gathering of people that gradually lifts the veil of mystery from over daunting histories. At the centre of this film’s commotion is the expired and enigmatic David. The movie is set in motion with the arrival of valet-parker and struggling singer-songwriter Ivan (Eric Hawrylciw), along with his on-again-off-again waitress girlfriend Bea (Mia Challis). The two who perennially bicker and banter about their oversexed ways, are joined by Mari (Brittney Rae) who announces the imminent arrival of Eric (David Hamzik). It seems this guy’s failure to stay in touch with the others for several years has bred much resentment. Eric shows up with his fiancé Ally (Savanah Joeckel). What follows is the group's customery sharing about their current jobs. But shame provokes each person to make themself out to be more than who they are.
It turns out that the main reason behind Eric’s invitation is in the hope that he will help pay for David’s headstone. Provocative comments are punctuated with uncomfortable pauses. In the process though, viewers are likely to relate to the characters, especially owing to the tendency of former classmates to size up one another and compare their present situations in life. The film's tension is exacerbated when a bitter Bea begins expounding on her romantic past with Eric and divulges a jarring characteristic of his behaviour - evidence of which lies in one of David’s tapes. But where is this mysterious piece of proof? Further information surfaces about troubled childhoods and peculiar relationships. Yes, there is enough drama here to keep the audience conjecturing between each spoken line.
Writer-director Gabriel Mayo tries hard not to telegraph his punches, nor does he give away too much too soon. In so doing, Mayo mostly succeeds at pacing his screenplay effectively and gradually piquing the audience’s attention. Though unable to avoid sensationalism, Mayo does triumph at building tension and having his various characters deflect responsibility and turn the tables on each other. Thus, the viewer wonders whether owning up and acquiescing is around the corner and also, what kind of denouement the film is headed for. There is no need of actual flashbacks as the often potent dialogue is able to stand on its own two feet.
Mayo draws from the bittersweet ethos of adolescence and the accompanying school years with friends. However, at times the “news” of old doesn’t altogether warrant the emotions it sets out to evoke from cast and audience alike. Still, here is a frequently effective exercise in how character study can drive a film’s plot and that too, without openly displaying today’s obligatory sex and violence. Indeed, this movie is a provocative showcase of the “less is more” approach to filmmaking. The mesmerising tool of suggestion through mere talk is a major asset. Plus, this film shows us how something perverse can be assimilated into the human experience and how the bizarre can be turned into the profound. To call this film “offbeat” would be an understatement, but as far as being weirdly beautiful goes, this movie makes quite a statement.
