by Finnlay Dall
Worth: $8.00
FilmInk rates movies out of $20 — the score indicates the amount we believe a ticket to the movie to be worth
Cast:
Aylin Tezel, Chris Fulton, Alexandra Dowling, Layo Akinlude, Rory Fleck Bryne, Anna Russell-Martin
Intro:
… a story that neither says anything unfamiliar or exciting …
Most species of birds migrate twice a year. Despite the added risk inherent in flying long distances, it is a necessary part of their survival. A flock will fly wherever the earth is warmest, breeding in either the North or South, depending on when the respective summer month is. Actor Aylin Tezel’s [7500] debut feature suggests that we as humans have that same instinctual desire to get away and find love.
German artist and set designer, Kira (Aylin Tezel) explores the coasts of Scotland in an attempt to find herself after a messy breakup. On the train back to town however, she swaps glances with Ian (Chris Fulton), a musician whose sombre gaze and bird tattoo quickly draws her attention. But it’s not until their second chance encounter at a local pub where sparks truly fly.
Enjoying the street life in the early hours of the morning, Kira and Ian bond over their shared role as weary stragglers, both trying to get as far away from their home lives as humanly possible – although neither will say why. As their friendly banter evolves into a flirtatious set of improv games, a small love blooms between them.
Yet, a tragic series of events seeks to keep them apart. Not only does Ian have a girlfriend, but an incident with his sister Annie (Anna Russell-Martin), leaves him in a vulnerable state. And despite Kira’s efforts to lift his spirits, Ian abandons her the next morning. The pair soon head back to their old lives in London, and unaware of their proximity to each other, are left with unresolved feelings.
Wallowing in despair, Kira and Ian engage in their worst habits. Ian sleeps around behind his girlfriend’s back, while Kira drunkenly voice messages her ex, Aidan (Rory Fleck-Byrne). Yet, as Ian and Kira become distracted by fond memories of their time in Scotland, they are compelled to open up to friends and family, beginning their long journey to better themselves. And it is in this process of reconciliation, that Kira and Ian might just rediscover their love for one another.
The trope of star-crossed lovers has always been ripe material for romance. Ever since Romeo and Juliet first hit the stage, we have indulged in relationships that are steeped in dramatic irony. Even Eternal Sunshine of the Spotless Mind (2004), which features a couple already in the throes of separation, creates its tragedy through memory erasure. Jim Carrey and Kate Winslet’s characters are then left to wonder whether history is doomed to repeat itself, despite being given a second chance.
Tezel also explores this idea of repeated failure in love. However, she is keen to focus on flawed lovers finding someone new, rather than exes trying to rekindle a dying flame. She asks: can a flawed lover be redeemed, and if so, are they allowed to love, again?
On a mountain trail together, Kira tells Ian her theory for why they’ve both been stuck in bad relationships: “Do you think people always fall for the same kind of person until they’ve learned something.” It seems plausible, since both Kira and Ian are incredibly flawed people, who, instead of confronting said flaw, choose to self-destruct by running away from it, either by travelling or dating around. The ‘lesson’ for Ian then becomes opening up about his family to his girlfriend, as well as being there for his sister; a person he hasn’t seen since she was a teenager. Meanwhile, Kira has a much more straightforward goal: building her self-respect back up and moving past her need for Aidan’s approval.
While the film shares intimate moments with the audience, like one gorgeous scene of Ian and Kira locking hands, they exist as wholly separate vignettes. They’re warm snapshots that slot themselves between otherwise dull drama; something the film quite often defaults to. When Tezel isn’t shooting bed scenes in golden hour or doing close ups on hands through grass, she chooses to cover the streets of London in this washed-out grey. A hue that may speak to British television execs but makes any form of romance in the film feel lifeless. The difference in quality between these flashbacks and the rest of the film is so stark that Tezel seems insistent on using the exact same series of shots with no variation. And unfortunately, as much as it is refreshing to see Kira’s hands through Ian’s hair or light spilling on their faces, the film shows us nothing we haven’t seen from the romance genre before.
Tezel and Fulton have wonderful chemistry though, and as easy as it is to complain about the visuals, Falling into Place at least knows how to get the audience to believe in its couple. Ian and Kira’s playful ribbing is natural and a delight to watch – even if dancing on a kitchen table to Cutting Crew’s “Died in Your Arms” dips into the uncomfortably cliche. Their love is corny, but there is no denying the sincerity Fulton and Tezel bring to that love. And that’s not to mention the tender platonic relationship between Ian and Annie, whose sibling banter, led by a moving performance from Russell-Martin, feels rewardingly nostalgic despite its brevity.
However, those same great performances also highlight Tezel’s inexperience as a writer and director. The audience can admire a full range of emotion and an actor’s commitment to bring their character to life, but if it’s to carry a story that neither says anything unfamiliar or exciting, we quickly lose interest. Falling into Place tries to explain the more complicated sides of romance, exploring what it may look like for a situationship to blossom into a lifelong infatuation. But its lack of depth and its priority on performances above all else leads to an ending that will leave audiences frustrated.
