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“Perhaps we were just never meant to be together…” MENTALLY APART, a two handed movie revolving around two central characters and filmed in a single location was the brain child of Larry Bernardo and Christine James Walker along with editor/writer/director Joe Pomarico. The film was shot on a 7000 dollar budget in Long Island and the release during a global lockdown was quite fascinating as it served as a test of numerous relationships which heightened its impact. Throughout the movie, there is a visual reference to “THE SHINING” which serves as a stimulus for the climax. The intersectional coldness of the world in which Kubrick studies people’s isolation and confinement makes him one of the key influences of cinema. This is aided by his use of the intertitle, “too much time has passed” which is so hauntingly vague. The first act depicts a lovers’ initial excitement towards each other. The original score Sascha Blank composed in the first act is exquisite and soothes and captures the romance of thoughtful Walker and laid back writer Bernardo falling in love. They are two witty, self reliant people who enjoy whiskey, reminisce about their lives and laugh at the stereotypical characters that litter the bar where they first met. The term ‘soulmates’ is thrown around. In one month the couple share the same bond, whining about reality television and discussing the judgmentable societal pressure on childless adults.
Yet there is an odour that smells rotten and unexplainable that permeates the air in the apartment. Walker starts feeling sick while burning oil in an attempt to prepare food. On the other hand, Bernard doesn’t believe in exorcisms because, as an atheist, he considers them as nonsense while she is quite terrified and believes in demonic beings.
As constants in Blank’s life—like brushing their teeth, hair dyeing or a more peculiar excruciating processes—while watching the movie horror begins to take shape. Where it’s not just the unrealistic dreams themselves, but one physical shocking glimpse that turns everything into a nightmare. At one point Pomarico hails the most repulsive parts of domestic life through David Lynch and Polanski’s works (the more prominent one is REPULSION). For real “horror” comes from the ugly depictions of two normal people who end up being toxic together on the get-go. Per usual, everything with regard to personal insult or even the shrinking silencing conversation along with the increased need for space to think has in fact burnt itself into reality. And Walker gets nagged and suffers from greying hair while Bernard is struggling with writer’s block. The initial surge of impulsiveness gets stifled replacing it with the combination of a divide in sexes along with household duties. Inviting all the brilliant attempts to reinvent the euphoric phase instead of recreating the high, they both end up with split spiteful edges at a simple candle-lit dinner, one saying “If I give it to you will you actually change?” while the other says, “I love you so much I would take your heart out, slice it and feast on it.” The sheer monotony of exhorted angry buzzing phones and flies present in the background makes it all worse. Robbed of the ability to sober up the optimistic return to evening dresses or waistcoats is tragic comedy cursed by a masterfully executed climactic twist.
Bernardo is genuine in a challenging role. However, it is Christine James Walker’s emotionally intricate performance that gives MENTALLY APART its core. She is incredibly talented in one of the most excellent performance driven genre films of the past several years.
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