The rope-to-back strategy begins with the opening sequence. A middle-aged man named Matt (Ed Helms) interviews a young woman named Anna (Patti Harrison) in what initially seems like a quick date, then a job interview, or maybe the other way around. The questions are cute but invasive (“What’s the worst thing you’ve ever done?”). Alex Somers’ solo piano score has that crystal-clear sea sound characteristic of hyper-verbal independent film comedies about affluent commuters going through existential crises. The credit police are Windsor Light Condensed, the official police of Woody Allen’s films since “Annie Hall”, and between the age gap of the main actors and their conscious but sometimes stumbling comic joke, it seems like “Together Together” is a seasoned aspirant who aims to give us the pleasures of a mid-term Woody Allen movie without having to factor in, uh, you know, Woody Allen.
Ultimately, it’s not the kind of movie where the protagonists overcome social obstacles placed in their path, fall in love, and live happily afterwards as husband and wife. In fact, this is a rare film about two characters that you’ve never seen in a movie. They initially seem cut from a fabric of mediocre romantic comedy. Writer / director Nicole Beckwith and her lead cast make a move in that direction by asking Matt and Anna to quickly reveal shared feelings of loneliness and loneliness (different concepts) and to tell secrets about their troubled past. Matt is the designer of a masochistic app called Loner that allows users to browse the profiles of other singles; they are not allowed to save profiles unless they “favor” them, and they can only choose one “favorite”. Matt’s marriage fell apart for undisclosed reasons (likely a fundamental mismatch). But he did decide to have a child anyway, using his own sperm and donated egg, and he is keenly aware that he is the only single, straight man in his situation. Anna got pregnant in college, decided to give the baby up for adoption, and won the double wrath of her parents, who saw her as a failure both for having an unplanned pregnancy and for not keeping her. child. “It seemed like the only way they could be happy was that I was very unhappy,” she told Matt. What is that, Charlie Kaufman discount?
But the more time you spend with these two, the harder it is to categorize the types of characters, let alone compare the movie to other movies or predict what will happen to the main couple. In fact, it is wrong to call them “a couple”. They are more than friends, less than lovers. Well, not “less than” because that phrase implies that a romantic relationship is greater than friendship.
Again, is it even a friendship? Anna asks. She is right to wonder. Matt doesn’t know how to answer. Money is involved. They held hands, but not each other. They shared secrets, but not a bed. Anna isn’t attracted to Matt, and to the extent that Matt makes openings in this direction, they seem obligatory, as if he’s conditioned to expect a heteronormative fantasy outcome (as academics might describe) . What drives these two? What are we looking at when we look at them? Anna and Matt’s predicament is like that time when you are working on a project late at night, with blurry eyes and easily distracted, and you look at a trite word like “door” and you think, “That’s how it is. that it is written? “