It was a relationship thriller. She was a Venus snatch-trap.
A major upgrade from Serge's debut feature Bold Stroke/Brush With Death, in that, Life After Sex attempts to actually grapple important relationships and mature topics. The kicker here is that Serge's eye for acting is not altogether fantastic but the incredibly awkward "lo-fi" realness adds some sensible charm. There is also some absolutely wacky writing and inane dialogue that will either leave you slightly wondering how it was left in or laughing joyously or both (see intro quote). Even through all its flaws, it suggests the silliness of one's selfishness that prevents a true romance from blooming and says commitment is the key. The weird, cumbersome acting of the characters almost works for the betterment of the story's message. They act immaturely when single and just starting out, to later fully develop a more honed in sense of urgency.
The main character, Stephen, falls in love with an actress (Shannon) he meets at an audition for his new film, and not before long a relationship sparks. Between the scenes of this couple quickly falling in love, having gratuitous sex, enduring long walks on the beach, and fighting Rodnunsky inserts segments of his character's new film. A fascinating introspective unfolds, surprisingly, subverting the schlock facade I was completely prepared for. There is literally a conversation about science vs God between the main man and woman that somehow simultaneously becomes the funniest and potentially most serious clip in the film. It left me elated, confused (in a good way), and questioning how and why this could be. It isn't just that one scene either, (and this could totally be my insane taste in film) but there are several other moments between Stephen and Shannon that made me gasp (from sheer authenticity). Have you ever in your life witnessed a film where a woman asks to hold the man's penis while he pees? That may sound silly, but for those of you who have not experienced this I guarantee you it is a real thing in real life. 100% one of the most genuine things I've seen occur between a couple in a film. Or how about a 2 minute rendition of a dude dancing with panties from a woman he invited over to his house and didn't sleep with? Or arguments that make little to no sense? And there is more. AND IT ALL WORKS. How? Why, God, Why? Whatever it is, the unmeasured formula makes me wish rom-coms were more like it. The tricky thing is if more were like it then it wouldn't be that special, but I think you get my point.
There's this theory an internet acquaintance suggested to me months ago at the beginning of quarantine regarding rom-coms and I think its important to bring up in the context of this review. Rom-coms are a genre that so badly falls into a dialed formula (more so than other genres). This formula, he says, was birthed with Nora Ephron's When Harry Met Sally: man and woman meet in some casual way, they question relationships over the years, have the somehow super convenient super wise best friends who they confide in for advice, and endure a cyclical pattern of fall in love, insert issue, and fall in love again. This theory gave me an epiphany and I think must be somewhere in the realm of 90% accurate. At the very least it's much harder to suggest one that doesn't fall into such common traits. I bring this all up to suggest that even with all its amateur moments, severe awkwardness, and glaring imperfections Life After Sex is the rom-com I never knew I wanted. It less follows a formula and more than anything clearly follows the heart of its director. Up until now, something I've never used to describe any director ever. Serge may not have the perfect films, but goddamn if they don't have the heart.
Beauty is in the eye of the beholder.
A major upgrade from Serge's debut feature Bold Stroke/Brush With Death, in that, Life After Sex attempts to actually grapple important relationships and mature topics. The kicker here is that Serge's eye for acting is not altogether fantastic but the incredibly awkward "lo-fi" realness adds some sensible charm. There is also some absolutely wacky writing and inane dialogue that will either leave you slightly wondering how it was left in or laughing joyously or both (see intro quote). Even through all its flaws, it suggests the silliness of one's selfishness that prevents a true romance from blooming and says commitment is the key. The weird, cumbersome acting of the characters almost works for the betterment of the story's message. They act immaturely when single and just starting out, to later fully develop a more honed in sense of urgency.
The main character, Stephen, falls in love with an actress (Shannon) he meets at an audition for his new film, and not before long a relationship sparks. Between the scenes of this couple quickly falling in love, having gratuitous sex, enduring long walks on the beach, and fighting Rodnunsky inserts segments of his character's new film. A fascinating introspective unfolds, surprisingly, subverting the schlock facade I was completely prepared for. There is literally a conversation about science vs God between the main man and woman that somehow simultaneously becomes the funniest and potentially most serious clip in the film. It left me elated, confused (in a good way), and questioning how and why this could be. It isn't just that one scene either, (and this could totally be my insane taste in film) but there are several other moments between Stephen and Shannon that made me gasp (from sheer authenticity). Have you ever in your life witnessed a film where a woman asks to hold the man's penis while he pees? That may sound silly, but for those of you who have not experienced this I guarantee you it is a real thing in real life. 100% one of the most genuine things I've seen occur between a couple in a film. Or how about a 2 minute rendition of a dude dancing with panties from a woman he invited over to his house and didn't sleep with? Or arguments that make little to no sense? And there is more. AND IT ALL WORKS. How? Why, God, Why? Whatever it is, the unmeasured formula makes me wish rom-coms were more like it. The tricky thing is if more were like it then it wouldn't be that special, but I think you get my point.
There's this theory an internet acquaintance suggested to me months ago at the beginning of quarantine regarding rom-coms and I think its important to bring up in the context of this review. Rom-coms are a genre that so badly falls into a dialed formula (more so than other genres). This formula, he says, was birthed with Nora Ephron's When Harry Met Sally: man and woman meet in some casual way, they question relationships over the years, have the somehow super convenient super wise best friends who they confide in for advice, and endure a cyclical pattern of fall in love, insert issue, and fall in love again. This theory gave me an epiphany and I think must be somewhere in the realm of 90% accurate. At the very least it's much harder to suggest one that doesn't fall into such common traits. I bring this all up to suggest that even with all its amateur moments, severe awkwardness, and glaring imperfections Life After Sex is the rom-com I never knew I wanted. It less follows a formula and more than anything clearly follows the heart of its director. Up until now, something I've never used to describe any director ever. Serge may not have the perfect films, but goddamn if they don't have the heart.
Beauty is in the eye of the beholder.
