Departures is directed by Neil Ely and Lloyd Eyre-Morgan—the latter of whom wrote and stars as the lead, Benji. Benji is coming off a bad breakup from a tumultuous relationship; he is down on his luck and does not seem to even like life anymore. Why has he gotten this way? What about his last relationship has left him like this? At first, Benji’s meeting with Jake is a spark of curiosity and intrigue, but soon that which makes the relationship exciting may also be the reason it becomes a problem for Benji and for Jake, as secrets and boundaries threaten to tear them apart.
The film is presented not as a classic cinematic film akin to even the 2000s or late ’90s. It is not shot with the most cinematic camera style, but rather uses a style that feels born from digital, home-style cameras that still deliver strong image quality. It does, however, assert a strong vision and interesting style, with bold lighting in many scenes. More importantly, the film has a unique aspect ratio and a frantic editing style that announces itself quickly. Rapid and sudden cuts establish this as a film with a voice, a point of view, and a lot to say with little time to say it. It carries a whimsy and charm through its humour and uses animated-style title cards, fitting into the language of new wave and alt-film culture.
The sudden cuts are used to deliver absurd and unhinged imagery as part of the entertainment and humour. This is the key choice that makes the film so engaging: it gives this story of a relationship breakdown a creative and specific perspective, situating us firmly in Benji’s view of the world—and that view is compelling. A loud voiceover delivers more information and humorous commentary over the film. He adds details and jokes that would likely be difficult to deliver visually, but they are spoken creatively and with a distinct voice. This, along with the editing and some memorable soundtrack choices—including a heartfelt original song—recalls Danny Boyle’s work on Trainspotting. It is a voice that comes from a new wave of queer filmmakers who are being given an unprecedented opportunity to have their voices heard with little to no restriction through film, and it is a delight to see.
The film runs on interactive camerawork and odd situations where our protagonist is not sure what to do. It feels like a modern version of a video journal, but in a more cinematic form, as Benji—and the writer himself—seem very focused on reminding themselves that despite the beauty of the romance he experienced, there are certain limits that should not be accepted in relationships. You need to be able to recognize the signs of someone who is holding you back in your life, and no matter how much you think you have struck gold with them, you should find value in yourself and your own life. Nothing good can come from a relationship that relies too heavily on one person, and the journey that Benji takes you on communicates that clearly.
Departures is available in theatres now.
