Share?, 2023
Directed by Ira Rosenweig.
Starring Melvin Gregg, Bradley Whitford, Alice Braga, and Danielle Campbell.
SYNOPSIS:
A man struggles to survive after awakening alone, trapped in a society connected only by primitive computers, where the ability to entertain is his only currency.
This piece was written during the 2023 WGA and SAG-AFTRA strike. Without the labor of the writers and actors currently on strike, Share? wouldn’t exist.
Shot from a single fixed camera angle to play into the idea that these characters, who have each mysteriously awoken in a locked-up square room with only an outdated computer, are streamers entertaining an unknown audience (surprisingly, there isn’t a chat box for communication between content creator and audience members), Share? is a compelling exercise in acting more than anything.
Naturally, this is a limiting approach for shooting a film, offset by performers such as Melvin Gregg throwing themselves into everything the script and online audience ask for regarding entertainment. The unnamed man consistently finds himself attempting various flips only to land on his backside, as apparently, that’s what this audience finds funny and rewarding. They also happen to enjoy his unannounced farting.
While playing this dehumanized entertainer role, the man also experiments with what other commands the basic computer understands, such as asking for water and food, connecting himself to other users for social interaction, and sometimes trying to silence those individuals when they get annoying (most of those things are accessible because even though these people are locked up, they are also given a fair share of comfort).
For some confounding reason that is a distraction, rather than adding to the immersion, the text is backward (admittedly, this does make sense considering the viewing perspective), meaning that while watching the movie, one has to train their eyes to read that text. However, such a task continues to be mildly frustrating, so it would be wrong to blame anyone for dismissing that text and instead focusing on what’s happening through the context of the story and dialogue. It’s a stylistic visual choice that backfires, taking one in and out of the experience.
The man, who doesn’t remember much about his past or how he got into this situation, finds companionship in coughing, philosophically rambling curmudgeon (Bradley Whitford), who offers as much welcome advice as he does, making the protagonist want to mute his audio. There is also an attractive woman performing yoga (Danielle Campbell), who he finds relaxing, and another woman (Alice Braga), who is more determined to understand how to break apart this system and escape.
These social interactions are the currency reward for successfully entertaining viewers, so Share? points out the obvious that this is not a meaningful way for a streamer and audience to connect, and sure as hell, it isn’t a fulfilling way to live for the content creator. Whether or not this is a criticism of full-time streamers and the para-social fans/moderators that wind up in their sphere is somewhat unclear, mainly because the film (directed by Ira Rosensweig, also co-writing alongside Benjamin Sutor) gestures at many interesting questions without ever feeling delving into them. It’s even less interested in the suspenseful thriller route, although there is terrific pitch-black humor during the ending.
Too much of Share? Feels underdeveloped, especially considering the narrative and themes aren’t as deep enough to compensate for that shortcoming. However, the film does allow the opportunity for a small ensemble to revel in acting outrageously, entertaining the fake audience and us.
Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★
Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com
