THE WHEEL
Synopsis:
Albee and Walker, a young couple on the brink of divorce, rent a mountain getaway to save their fledgling marriage. Before long, their personal drama creates tension between their newly engaged AirBnB hosts — Ben & Carly — leaving us to wonder if either couples’ relationships will survive the weekend.
When you’re in love, real-world consequences and logic quickly fall by the wayside. Add in trauma to that sequence, and almost all bets are off. TIFF 2021 audiences got to ride an emotional rollercoaster, or perhaps, in this case, a literal Ferris Wheel. The film focuses on an attempt to repair the marriage of Albee and Walker. In doing so, Ben and Carly confront issues lurking within their impending nuptials. As secrets are revealed, reality comes knocking.
Nelson Lee, as Ben, gives us a slick, and a tad aloof, performance. He’s the backboard we need for Albee’s ceaseless attitude. Trent Atkinson‘s smart script allows Lee to play many sides of a perfectly flawed man. Bethany Anne Lind, as Carly, is the bright savior figure. Lind wears her heart on her sleeve in an attempt to get to the root of her guests’ issues. Perhaps, to her own relationship’s detriment. Amber Midthunder plays Albee with a fire that is accosting. Breaking through her wall is precarious and revealing. Midthunder walks a thin line between entitled Gen Zer and trauma survivor. You’ll be captivated by her interactions with every cast member. Taylor Gray breathes life into Walker. His vulnerability drives this story like a freight train. He’s so committed to making Albee and Walker’s relationship work. Their pain is palpable. Gray evokes a visceral response. I could not fathom someone being so unequivocally devoted to what appears to be a toxic relationship.
There’s an honesty to this script that will be a gut-punch for viewers. It will undoubtedly force you to confront your relationships. Atkinson wrote the characters of Albee and Ben to have more similarities than at first glance. He did the same with Carly and Walker, creating engrossing dynamics. There are some profound moments between these cast members. Their overall chemistry is the stuff of dreams. Ignoring all else in THE WHEEL, the final scene is one 10 plus minute take of raw emotion. It is the culmination of everything we think we know and we watch as Gray and Midthunder process those feelings in real-time. I hope people take notice of this feat. It’s a bold and beautiful choice by director Steve Pink. I think it pays off in spades as an extraordinary catharsis.
THE WHEEL — Directed by Steve Pink | Written by Trent Atkinson
Contemporary World Cinema — Acquisition
Produced by Amber Midthunder, Taylor Gray, Steve Pink, Josh Jason, Molly Gilula
Executive Produced by Josh Jason, Jeremy Hartman
Starring Amber Midthunder, Taylor Gray, Nelson Lee, Bethany Anne Lind, Kevin Pasdon
Director Michael McGowan‘s screenplay pays full tribute to novelist Miriam Toews‘ original text by keeping these characters unapologetically demonstrative and smart. The film swiftly takes an ax to the patriarchal religious structure. That’s really the smallest part of deconstructing preconceived notions in this story. All My Puny Sorrows is about the reclamation of power and what that looks and feels like for each of the Von Riesen family members: dad included. Well-read audiences may connect on a different level. Ironically, the heavy literary aspect might also be the film’s downfall, with some viewers unable to discern between quotes and original dialogue. It will either win or lose audiences in its verbosity. I’m hoping that’s not the case, as those moments are akin to poetry.
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