Palm Springs
huluSold after its Sundance premiere for a festival-record of seventeen and a half million dollars (and sixty-nine cents), from the beginning, it was clear that Palm Springs was something special. With a story that is surprisingly reminiscent of the situation the world currently finds itself in, there is no shock that it has received the overwhelmingly positive reception and popularity that it currently has.
While it can’t quite be seen as revolutionary filmmaking – and occasionally suffers from a few tired and trodden beats at key points – Palm Springs is one of the first films, in a long time, that truly feels like it has something to offer for everyone, from independent film fans to general audiences. With hilarious moments, poignant intervals and a sprinkle of nihilism contrasted (and overcome) by optimistic romantic themes, writer Andy Siara and director Max Barbakov are able to avoid many specific genre trappings – and repetition from inspirations like Groundhog Day – to maintain a standard of inventive storytelling that subverts expectations well enough to be deemed one of the most unique films of the season so far.
However, in the effort to include the vast array of those aspects, the film plays out at a very brisk pace that, while digestible, can come off as a bit too fast. Primarily in the midsection of the film, the breakneck pace glosses over the development of many interesting characters, situations and plot points – ultimately preventing them from being fully fleshed out to satisfaction. Yet, any opportunities for development tarnished from the pacing of the film are partially able to be recovered due to the astounding performances from both Andy Samberg and Cristin Milioti, as well as the majority of the supporting cast such as J.K. Simmons and Camila Mendes. Here, both Samberg and Milioti are able to offer the right level of comedic nuance amidst the believable expressions of deeper emotions that are hidden on the surface but, through their interpretations, can be felt just by observing their interactions with others.
Additionally, much has to be said about the way that Barbakov and Siara – along with Quyen Tran’s eye-popping cinematography – handle the making of the film. While the various genre facets would normally result in an inconsistent or incoherent film under the supervision of other creatives, they are able to perfectly balance the comedic and dramatic needs of the film to ensure a consistent tone is present in its narrative voice. Barbakov is able to flawlessly keep the film lighthearted and hopeful while infusing it with important discussions examining the extent to which nihilism and loneliness influence our need for companionship. What makes his effort even more impressive is that, despite masterfully handling the content with more success than most experienced comedy veterans, this is his first feature length film, which speaks volumes to his potential going forward.
Overall, while it does have a few noticeable issues, Palm Springs is a masterful tonal balancing act that, along with showcasing the untapped potential of the majority of the cast and crew, has proven to be the film we need right now.