Chances are, most working-class members of society have, at one point or another, questioned their own life’s direction, the value they offer, the possibilities outside the office, and the meaning behind it all. There’s something to be said about a film, loaded with all of the above without the tendency to shout it from the rooftops, that itself acts as a mirror image of its main character, which is exactly what’s presented by the relaxed, easygoing, somewhat maddening, “Free Time.“
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As “Free Time” opens, we’re quick to meet the protagonist, Drew (Colin Burgess), employed by a New York City-based firm as a data analyst. Within the first several minutes, Drew has called a meeting with his boss, Luke (James Webb), to inform him he doesn’t feel his productivity has been where it should be and he might be better suited for a role elsewhere in the organization. A suggestion of a vacancy in HR piques some interest in the twentysomething, though the pay cut involved with such a transition soon leads to Drew submitting his notice. He lets the bewildered Luke know his desire to exists in freedom, making the most of his twenties and not feeling tied to a job he doesn’t find fulfilling. One scene transition later and Drew is now on the street outside, holding a box of his desk’s possessions and ready to make the most of life. Sounds simple, doesn’t it?
From here, it’s one vignette after another: returning to the apartment he shares with roommate Rajat (Rajat Suresh), who appears only slightly confused by Drew’s decision but isn’t above offering him an opportunity to write clickbait articles as a financial means to an end. For similar reasons as the motivation for leaving the world of data analysis, he declines, kicking off a series of escapades around the city from a seemingly unfulfilling bike ride, a night out involving s and an endless amount of wandering, and periodic check-ins with friends, such as podcast producer Laura (Rebecca Bulnes) and their brief stroll around the block for smoothies and pointless conversation. Even a party Drew attends as the third wheel of Rajat and girlfriend Kim (Holmes) does little to shake his ennui. However, it does lead to what could have been a romantic moment with a building resident (Jessie Pinnick), ruined when Drew learns of her employment as an A&R label rep and his attempts to play his band’s demo to her tremendously uninterested ears.
Oh, had the band not been mentioned? A plotline not to be overlooked, Drew’s the keyboard player in an indie group, one that’s seen emerging from hiatus when band leader Michael (Michael Patrick Nicholson) announces his plans for a new, country-fied direction. Drew immediately takes issue with this new diretion and his uninspiring contributions to the new songs go over as expected. It’s become apparent to our lead that, quite possibly, life may very well have been better behind a desk, though his attempts to return to his past life fail to pan out when Luke coldly rejects him following an awkward encounter outside his old office. This upheavel all leads to a confrontation at the top of the film’s third act and a subsequent turn of events that, without spoiling, could have never been foreseen.
Up until these moments, the film appears to exist merely as a series of scenes strung together by Drew’s halfhearted actions; it’s near-impossible to understand his motivation overall, yet it’s hard to deny the simplicity on display throughout “Free Time, “which is what makes the third act so unusual. Drew, however, Burgess perfectly fits the part, a peculiar character who wouldn’t be out of place in a Wes Anderson outing. It helps that the entire cast, even if most might be receiving mere minutes of screentime, effortlessly inhabit their roles, with Holmes in particular eliciting more than a few laughs from her two or three scenes and the unusual, overwhelming tension between herself and Drew. It should also be noted that the film’s last ten minutes include a confusing game of volleyball, which couldn’t be more hilarious.
At 76 minutes, “Free Time” is a short, easy watch, one that might not leave a lasting impression but manages to succeed in anticipating what’s next for Burgess and director Ryan Martin Brown. It’s the sort of film that, were one to learn it was shot on an iPhone, could easily be believed. And even though professional-grade cameras were indeed utilized in the film’s production, it’s a testament to making the most of something small and the ability to capture attention as a result. The frustration of watching Drew’s journey unfold makes for a unique viewing experience, and whatever it is he seeks in life, I hope he one day finds it. [B+]
