Polly Rogers explores how Kristoffer Borgli’s latest catastrophic narrative uses settings, costumes, and on-screen chemistry to create a subtly satirical take on life’s serendipitous moments.
The Drama is a film of intrigue, depth and suspense. The narrative works in its non linear fashion to place you as a fly on the wall, privy to mostly ordinary moments, that would standardly be considered uncinematic. Writer and director Kristoffer Borgli, uses the mundaneity and imperfections of realistic moments within life to exemplify the immersion for viewers within this narrative. The moments of tension and panic leave you in suspense, as if you are a character watching the drama unfold. These situations beg for your inclusion, but their awkward nature often strains the comedic aspect, shifting from blatant laugh out loud comedy, and moving toward a subtly satirical take on life's ridiculously serendipitous moments.
The film showcased the performativity of people and moments, focusing largely on body language or stature. It tended to cut away prior to conventionally significant narrative moments, focusing instead on the aftermath. This quick cut before the dialogue, followed by a jump to the aftermath, produced an allusive perspective, creating generalised assumptions and emotional understanding.
Robert Pattinson and Zendaya play a dynamic coupling - their relationship onscreen being written realistically in that many of the moments highlighted were of uncertainty or conflict. Pattinson's emotions and inability to comprehend his stress was physicalised into Charlie, his jittery and eager body language merged with his people pleasing personality. This was a complete tonal contrast to the closed and emotionally introverted Emma, played by Zendaya, whose dialogue was almost always drawn and her posture rigid.
The character of Rachel, a snide sorority sister, was intricately created and played to perfection by actress Alana Haim. Her characterisation was so expressionistic that her face alone added layers of narration. Her presence was a constant anxiety, a ticking time bomb of gossip and resentment. Her closely pursed lips were poised, prepared to vocalise her thoughts at any second at the expense of Emma's reputation. Other performances were by Sam Zimman, Jordyn Curet and Jeremy Levick.
The settings were crisp and comforting, the autumnal feel warming at first, a comforting need for the couple to magnetise closer to one another in these large rooms with windows and airy ceilings. However, as pressure was added to the bride and groom prior to their big day, the apartment began to feel empty and cold, the space only exaggerating the distance between the couple. Costuming by Katina Danabassis was simplistic, modern and mature; its sleek business style had the youthful feel of a young professional couple. The clothing palette focused on darks and neutrals, using earthy, natural tones to situate the characters within shadowy interiors.
The film is comedic in its awkwardness, a removal from the standard genres of romance we have seen stereotypically in cinemas past. Circling online is much dialogue concerning the doom-mance. Seemingly, rom-coms are stepping aside in the 2020s, making way for catastrophic narratives doomed from the outset to thematically dominate and define this genre. The Drama’s success may catalyse the shift that is reshaping modern romance.