‘Wexford Plaza’: A Darkly Funny & Unabashedly Raw Look At What It Means To Grow Up [Review]

In the pantheon that is the coming of age genre, “Wexford Plaza,” which made its premiere at this year’s Slamdance, could easily be buried deep in the plethora of thematically similar titles. This isn’t for a lack of trying, as the film is fresh and enticingly authentic and much of the time succeeds in providing some new and relatable voices. However, director Joyce Wong has created a lived in world that is dreary, disarmingly tragic and quietly soul sucking. Lacking any spark of hope from the start to the very end and keeping the audience at an arm’s length in case they dare to grow close to these characters, the film’s greatest achievements lie in the confidence displayed in front of and behind the camera.

Wong wears dual hats here as both director and writer, her story about a 20 year-old girl digging into the crevices of viewers’ minds to similar moments of insecurity and disbelief at the situations they’ve found themselves in. Following Betty (Reid Asseltine), a lonely young woman taking on a security job in a lowly strip mall, the film tracks the narrative from her perspective as she grows attached to local bartender Danny (Darrel Gamotin). However, following an awkward sexual encounter, their relationship strains, at least on the latter’s side. Driving that point home, the perspective shifts midway through to Danny as we’re reintroduced to his world and wayward nature, which leads to more heartbreak as the film progresses. Rather than relying on the switch in point of view to hold up the film as a gimmick to push intrigue, it instead allows for these already well-defined characters to be further fleshed out.

For all of its on paper familiarity, “Wexford Plaze” is at times startlingly original in the exploration of Betty’s sexuality and her perusal of Danny. That familiarity doesn’t denounce the film as a bad one, rather one that clearly has ties to its influences. Dark and clever in its structure and the manner in which we’re given hints about Betty’s home life rather than showing in full her loneliness and neglect, we’re allowed to judge and take part in her world based solely on her actions, which give her a greater sense of character. Similarly, Danny, in a role that could’ve been written as simply antagonistic, is given layers and warmth.

While the writing earns much deserved credit, the greatest asset to how well the characters play are Asselstine and Gamotin who, if this film is any indication, should both go on to have bigger careers. Asseltine plays Betty with such a youthful and earnest demeanor that it’s difficult not to instantly worry about her well being, worried about who could take advantage of her innocence. While her transformation throughout the film isn’t anything obviously drastic, she gives us just enough so that, once it ends, we wish we could spend a few more moments following her journey. Gamotin is similarly impressive, naturally charismatic in a way that we understand Betty’s infatuation with him. Both are dealing with complications in their lives, both are making mistakes and behaving in ways that are unnervingly human.

Tackling her first feature length film, Wong demonstrates a grace and assuredness behind the camera, always making sure to create a visual sense of vast, empty spaces, even when some locations are busier than others. It’s the isolation of these characters that makes them so compelling and Wong knows this, then highlights it along with cinematographer Maya Bankovic. Shot almost entirely at night (and when not, in the sun-bleached and washed-out daytime), there’s a monotony to their routines and a desperation to their work situations and, by shrouding the film under cover of evening full of empty bars and neon lights, we’re given a greater sense of their mindset.

While more hopeful when we first meet Betty, the film quickly goes down a quietly bleak path. Sure, nothing obviously horrendous happens, but there’s no real levity and instead just a constant state of trepidation. It’s a promising film but one with a certain audience, which makes it a tough to sell for those who are looking for easy entertainment. “Wexford Plaza” is honest, darkly funny, unabashedly raw, and unforgiving in its small scope and big ideas about what it means to really grow up. [B]