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WEATHER OR NOT | Omeleto
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A New York author meets an Uber driver.
Benjamin is a New York author on a book tour, which brings him to a small town far from the cosmopolitan cities he's used to. He's picked up at his latest stop by a chatty, friendly Uber driver, who greets him warmly and then engages him in polite small talk about the weather. Benjamin is annoyed by these platitudes, being interested only in "real talk."
His persnickety demeanor and dismissive attitude permeate his entire stay and event, making it clear he's annoyed by the small-town ethos of forced friendliness and cheer. The nail in the coffin in his experience is his ride back to the airport with the same Uber driver who picked him up. But she's cannier than he thinks and turns the table on him in a way that punctures the bubble of his superiority complex.
Co-directed by Eddie Grey and Alyssa Carter from a script written by Grey, who also plays the co-lead role of Benjamin, this short comedy works as both a snapshot of one man's hubris brought back down to earth and a lightly satirical portrait of dueling visions of American society, each convinced it's the superior "real" one. The storytelling combines elements of a travelogue with a "fish out of water" story -- though this particular fish has very strong opinions about the water and makes it clear to everyone around him.
Both the character's work and the story overall revolve around observation, woven here with clear, bright cinematography, acute attention to small detail and an ear for the regional and social nuances of dialogue. The narrative is bookended by two major conversations between Benjamin and his driver, the first of which reveals his blase, dismissive attitude towards the setting and event, which seems to disappoint his driver.
As an actor, Grey balances Benjamin's sharp intelligence with a curt refusal to engage with people outside the strict parameters of his perspective. Even at an event focused on celebrating his work, we observe Benjamin at the event and see how his attitude keeps him from being fully present and appreciative of his audience and the opportunity.
Yet, having written it all off as shallow and superficial, he's unaware of how he's cordoned himself off from the world around him. His second conversation with his driver on the way home reveals that he actually may even be more entrenched in his attitude, and the driver observes how little Benjamin has taken in. The great trick of WEATHER OR NOT is how it flips Benjamin's narrow worldview and myopia on him, revealing the driver to have an observational intelligence, understanding of human behavior and facility with communication that's akin to Benjamin's own. Hers may be folksy and down-home; his may be clipped with city sophistication. But he gets the tables turned on him, no thanks to his short-sightedness.
Benjamin is a New York author on a book tour, which brings him to a small town far from the cosmopolitan cities he's used to. He's picked up at his latest stop by a chatty, friendly Uber driver, who greets him warmly and then engages him in polite small talk about the weather. Benjamin is annoyed by these platitudes, being interested only in "real talk."
His persnickety demeanor and dismissive attitude permeate his entire stay and event, making it clear he's annoyed by the small-town ethos of forced friendliness and cheer. The nail in the coffin in his experience is his ride back to the airport with the same Uber driver who picked him up. But she's cannier than he thinks and turns the table on him in a way that punctures the bubble of his superiority complex.
Co-directed by Eddie Grey and Alyssa Carter from a script written by Grey, who also plays the co-lead role of Benjamin, this short comedy works as both a snapshot of one man's hubris brought back down to earth and a lightly satirical portrait of dueling visions of American society, each convinced it's the superior "real" one. The storytelling combines elements of a travelogue with a "fish out of water" story -- though this particular fish has very strong opinions about the water and makes it clear to everyone around him.
Both the character's work and the story overall revolve around observation, woven here with clear, bright cinematography, acute attention to small detail and an ear for the regional and social nuances of dialogue. The narrative is bookended by two major conversations between Benjamin and his driver, the first of which reveals his blase, dismissive attitude towards the setting and event, which seems to disappoint his driver.
As an actor, Grey balances Benjamin's sharp intelligence with a curt refusal to engage with people outside the strict parameters of his perspective. Even at an event focused on celebrating his work, we observe Benjamin at the event and see how his attitude keeps him from being fully present and appreciative of his audience and the opportunity.
Yet, having written it all off as shallow and superficial, he's unaware of how he's cordoned himself off from the world around him. His second conversation with his driver on the way home reveals that he actually may even be more entrenched in his attitude, and the driver observes how little Benjamin has taken in. The great trick of WEATHER OR NOT is how it flips Benjamin's narrow worldview and myopia on him, revealing the driver to have an observational intelligence, understanding of human behavior and facility with communication that's akin to Benjamin's own. Hers may be folksy and down-home; his may be clipped with city sophistication. But he gets the tables turned on him, no thanks to his short-sightedness.
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