Office Christmas Party
Another reminder that allowing your cast to madly improvise instead of actually providing a coherent script with a scintilla of inherent logic often leads to…
The thing about drug addicts is that, regardless of their background, ultimately, they are all the same. Anyone who has known a drug addict has looked on helplessly as the individual's personality is co-opted by the addiction, turning the specific narrative of a specific human being into a predictable cliché. It's devastating for all involved, and onlookers (family and friends) wonder what the hell happened to their sweet daughter, their ambitious son. That's the main challenge with stories about drug addicts: there aren't a million stories to tell, there are only a couple, because the addiction operates like clockwork. Descents into addiction are a favorite topic of films, from "Lost Weekend" to "Panic in Needle Park" to "Drugstore Cowboy" to "Requiem for a Dream" ... Such stories can operate as cautionary tales or they can be queasily voyeuristic and sensational. Collin Schiffli's strong directorial debut, "Animals", (with a script by David Dastmalchian, who also stars) is neither cautionary nor voyeuristic. It tells the story of a young couple whose only remaining bond is their heroin addiction, and when their drug-scoring schemes start to dry up, reality closes in with all the subtlety of a car crashing into a brick wall at high speed.
At first, Jude (Dastmalchian) and his girlfriend Bobbie (Kim Shaw), hanging out in Chicago, sleeping in their car, looking for their next fix, seem like an adorable rom-com version of drug addicts. They hold hands as they walk down the street. Bobbie keeps all of her possessions in a child's metal lunch box. They go to the zoo together and look at lions and camels and tigers through the bars of the cage. (The constant animal imagery is on-the-nose in its symbolism, although it does lead to the overwhelming strangeness and beauty of the final shot.) Neither of them are in touch with their families anymore. Calling home for help is no longer an option. Their lives have been pared down to such a sterile landscape that there is only room for each other, and for the drugs.
This is not a "slippery slope" movie, like other stories about addicts. In "Animals," they are already at the bottom of the slope. Taking place in a very condensed period of time, "Animals" features an alarming (and effective) swerve in mood, from the nearly-bucolic opening sequences, (blinking in the morning light into the camera flares, giggling over a successful con, the glory of the heroin high itself) to a more jagged and terrifying energy in the second half of the film.
Bobbie and Jude shoplift CDs and then sell them in order to buy drugs. She pretends to be a sex worker, setting up "dates" with random guys through an ad she and Jude placed in the paper. They end up conning a security guard over a fictional stolen laptop in a scam that is so complicated it almost reaches the slam-dunk of Moses and Addie Pray's money trick in "Paper Moon." But the scams get more dangerous. And without constant fixes throughout the day, the addiction becomes urgent, a wild animal that demands to be fed (in case you missed the symbolism of all the images of roaring lions and scratching gorillas sprinkled throughout.)