{"id":1840,"date":"2014-03-31T15:41:46","date_gmt":"2014-03-31T22:41:46","guid":{"rendered":"http:\/\/moviesharkdeblore.com\/site\/?p=1840"},"modified":"2014-10-12T15:46:05","modified_gmt":"2014-10-12T22:46:05","slug":"missing-child-boston-international-film-fest-review","status":"publish","type":"post","link":"https:\/\/behindthelensonline.net\/site\/reviews\/missing-child-boston-international-film-fest-review\/","title":{"rendered":"MISSING CHILD (Boston International Film Fest review)"},"content":{"rendered":"

By: debbie lynn elias<\/strong><\/p>\n

\"missing<\/p>\n

Making its world premiere at the Boston International Film Festival, as well as marking the directorial debut of writer\/actor Luke Sabis, is MISSING CHILD.\u00a0 In short, MISSING CHILD is not to be missed at Boston or anywhere else on the festival circuit.\u00a0 It is a film of which distributors should sit up and take notice as MISSING CHILD shines bright in the indie world.<\/p>\n

MISSING CHILD is told through the eyes of Gia, a young woman in her 20’s.\u00a0 Kidnaped as a young child, raised in a foster home, Gia suffered extreme physical and sexual abuse.\u00a0 As she got older, her early traumas shaped her actions in her teenaged years, turning her to sex, video porn, prostitution.\u00a0 But enough is enough and on meeting Joe, she is forced to face herself while given the hope of resolving her past demons.<\/p>\n

With her focus on the future and a return to school, looming even larger is finding her birth parents.\u00a0 Thanks to Joe and the discovery of an age-progressed photo of a missing child, Gia believes for the first time that maybe she can have that childhood dream of a loving parent who has never given up on finding her, one who will welcome and embrace her with loving arms.\u00a0 Preying on this rose-colored dream of Gia\u2019s, Joe pushes her to seek out her birth parents.\u00a0 On the flip side, Gia\u2019s best friend and co-worker, Debbie, sees red flags where Joe is concerned.\u00a0 Almost twice Gia\u2019s age, he is too eager, too hungry to \u201cuse\u201d Gia\u2019s trauma.\u00a0 Something doesn\u2019t sit right.<\/p>\n

\"missing<\/p>\n

Then out of thin air, Joe announces that he has found Gia\u2019s birth father – Henry Whittle.\u00a0 Behind her back, he has spoken to Whittle and made arrangements for them all to meet.\u00a0\u00a0 The meeting is uncomfortable, strained and tenuous at best and as the day goes on rather than a developing comfort and ease, disturbing facts come to light that will affect Whittle, Joe and above all, Gia.<\/p>\n

MISSING CHILD is more than an impressive directorial debut by Sabis.\u00a0 He knows story.\u00a0 He knows character.\u00a0 He does well with story pacing both thematically and visually,\u00a0 not to mention a deft handling of often awkward silences which are built in as plot points with MISSING CHILD.\u00a0\u00a0 Well done.\u00a0 On the flip side, there are some technical issues with framing, stabilization and lack of continuity with scene changes using fade to black, intermixed with cuts.\u00a0\u00a0 I question the loopy loosey goosey camera work at a dinner table scene.\u00a0\u00a0 Not to give up any spoilers, let me just say, as both a critic and filmmaker myself,\u00a0 I “get it” why you might think of doing that with the camera,\u00a0 but we have seen so many similar situations done so much better in film and tv over the decades with just simple VFX, this camera circling just doesn’t cut it and cheapens the film as a whole, taking the audience\u00a0 out of the story.\u00a0\u00a0 Blurring the image would have provided much more beneficial and welcome to buttress and visually tell what’s happening while not distracting the audience.\u00a0 A lot of close-ups used but framing falls short as we aren’t seeing a whole head or face.\u00a0 It’s one thing to just focus on eyes, or a hand, but use the technique judiciously.\u00a0 I think more effective would have been more mid-shots and better symmetry with the framing.<\/p>\n

\"missing<\/p>\n

Where Sabis truly excels on a technical level, however, is creating metaphor and solidifying his tonal bandwidth of story and imagery, particularly in a child\u2019s bedroom in the Whittle house. The visual metaphor soars as very conscious and definite changes in the ambient texture of the room both before and after some significant events have taken place.\u00a0 Key in the climactic and third act is some stunningly beautiful lighting by cinematographer Francisco Bulgarelli where he creates a very lovely emotional metaphor through shadow, complimented with a wonderful\u00a0 overhead mini-crane shot as if the view of an angel looking down on Gia.\u00a0 That one sequence is a perfect technical and emotional meld, capsulizing not only the story, but the directorial prowess of Sabis.<\/p>\n

But let\u2019s take a look at the script and performances, which go hand-in-hand to a large degree as the character construct, particularly that of Henry Whittle and Joe, are dependent upon the performance for the story to work.<\/p>\n

As to the overall theme, thematic elements are strong, interesting.\u00a0 Sabis and co-writer Michael Barbuto hit all the emotional beats and take us on a roller coaster of emotion with themes that tackle today’s headlines as well as the heart of an individual.\u00a0 What I find particularly compelling, however,\u00a0 is taking ideologies of religion, sex, child abuse, child abduction and pornography, and melding them all with a suspense building technique that leads to confessions-forgiveness of others and of ones\u2019 own self-repentance and redemption, and setting it all loosely in a little girl lost\/trying to find herself package.\u00a0 A great yin & yang of the darkness and light not only in the world but within each individual.\u00a0\u00a0 It works beautifully.\u00a0 And while every issue raised in the film is worthy of further discussion and exploration, Sabis tempers the amount of time spent on each, giving each tine of the story just enough of a nod to fuel characters and the story as a whole, focusing on the human darkness that comes with each of these elements.\u00a0 Very well done.<\/p>\n

\"missing<\/p>\n

Thanks to the well paced structure, like Hansel & Gretel we are fed bread crumbs of information that take us down a primrose path to what is actually a wolf [witch] in sheep’s clothing.\u00a0 The intrique is maintained.\u00a0 More questions arise as one answer is given. Suspense grows until we see “truth”.\u00a0\u00a0 Are Joe and Henry are somewhat in cahoots.\u00a0 Has Joe befriended, i.e., \u201cloved\u201d, Gia for money?\u00a0 Is\u00a0 Henry just a dirty old man?\u00a0\u00a0 Is Gia\u2019s trauma and story really true?\u00a0 Sabis and co-writer Michael Barbuto toss in plot twists that you don\u2019t see coming a la Jennifer Lynch\u2019s \u201cChained.\u201d\u00a0 Interesting, evocative and effective.<\/p>\n

From the opening scene, the audience is fed enough clues so that we are on the same page with Gia\u2019s friend, Debbie.\u00a0 There’s just something “not right”, something untrustworthy about Joe.\u00a0 Played by Sabis himself, he masters that rapier edge between decency and sleaze.\u00a0\u00a0 We see Gia on porn sites on a computer [literally on porn sites and ON a porn site], and because Joe looks and acts so much older than this outwardly quiet timid little mouse, you wonder if Joe’s pimping her out.\u00a0 Story keeps raising questions, but gives answers as the questions intensify.\u00a0 Then you wonder even more.<\/p>\n

\"missing<\/p>\n

Emotional tonal shifts are fueled by the cinematography.\u00a0 With Gia heading to work and the introduction of Debbie and her son Noah, the whole mood changes.\u00a0 Cinematography brightens.\u00a0 There are no dark or yellowed shadows.\u00a0 Once Gia is out of the house, the film lightens – as does Gia – as if a load has been lifted.\u00a0 But when Gia is on screen with Joe and once they arrive at Henry’s house, we are met with cornered shadows, a yellower tinge to the overall palette, sharp angles of furniture and the layout in the home, the precision of things on the dinner table, in the kitchen.\u00a0 The falsity of things being too forced, too perfect in appearance. Adds more curiosity to the character of Joe, and eventually Henry, not to mention more mistrust; and Sabis plays the character perfectly giving us nuance and tell-tale signs that fuel this questioning mistrust before ultimately delivering his performance payoff in his exchanges with Charles Gorgano’s Henry.\u00a0 Key to Sabis’ performance and the character of Joe is that while we suspect he’s not a good guy, Sabis gives us enough to throw us off balance and make us question our opinion of Joe.\u00a0 Delicate balancing act that he does well.<\/p>\n

But, then there’s Charles Gorgano.\u00a0 Three minutes of him as Henry – just his look and demeanor – and you feel like you need a shower to scrub his dirty mind and eyes away.\u00a0 He has this look that makes you believe he is thinking pornographic thoughts. [Nagging me throughout is that I couldn’t help but think that he was indeed the man who molested\/Kidnaped Gia as a child.]\u00a0\u00a0 But once again, thanks to the story, Gorgano does a complete 180 and you feel compassion for this man who now, in the shadow of a lone light on the edge of Gia’s bed, looks old, worn, alone and remorseful.\u00a0 I so appreciate that Henry’s own confession\u00a0 takes place in the bedroom with the childlike lightness of the design – white wicker, pinks, soft lamps.\u00a0 Given all the biblical reference and prayer and admonishments that occur, in my mind’s eye I saw the famous King James Bible picture of Jesus surrounded by all the little children whom he called to him.\u00a0 There was an innocence to Henry that was refreshing and Gorgano let us see a heart.\u00a0 Wonderful moment in the story and in the film.<\/p>\n

\"missing<\/p>\n

But MISSING CHILD belongs to Kristen Ruhlin’s Gia.\u00a0 From the start she reminds me of a fresher, younger and more timid Ellen Page like in “Homeless to Harvard”.\u00a0 A shy girl, observing, afraid, lost and trying to find herself.\u00a0\u00a0 she is victim to her own sorrow, to the voices in her head.\u00a0 The camera loves Ruhlin and Ruhlin knows how to work the camera.\u00a0 Silence and nuance are her friends and the ultimate result is poignant strength.\u00a0 Very very impressive performance.<\/p>\n

Kudos to Sabis with the visual and sound design of constant tv and radio in the background to help define Gia.\u00a0 Not remembering who she is or everything that has happened to her, sights and sounds can either help to block the pain or fill her untapped memories.\u00a0 Nice touches – and particularly black and white tv –\u00a0 as in the world of Henry, everything is either black or white; either you’re good, devout and religious or you’re not.\u00a0 Also notable are the actual movies Sabis chose from the public domain to have playing on the background tv\u2019s – The Little Rascals in “Our Gang” [taps into the child, the kid], Edward G. Robinson gangster movie [crimes of both Joe and Henry], Laurel & Hardy [comedy always cover darker issues].<\/p>\n

\"missing<\/p>\n

Icing on the cake is an eclectic score and soundtrack by Luke Sabis himself.<\/p>\n

Although there are some unresolved loose ends in the story and some technical issues within the film’s design, the strength of MISSING CHILD comes with the story, its construct and its themes, and above all, the performances.\u00a0 Luke Sabis shows himself to not only be a solid actor, but a solid director, one whom I hope won\u2019t be missing on our horizons in the future.<\/p>\n

Directed by Luke Sabis<\/p>\n

Written by Luke Sabis and Michael Barbuto<\/p>\n

Cast:\u00a0\u00a0\u00a0\u00a0 Kristen Ruhlin, Luke Sabis, Charles Gorgano<\/p>\n","protected":false},"excerpt":{"rendered":"

By: debbie lynn elias Making its world premiere at the Boston International Film Festival, as well as marking the directorial debut of writer\/actor Luke Sabis, is MISSING CHILD.\u00a0 In short, MISSING CHILD is not to be missed at Boston or anywhere else on the festival circuit.\u00a0 It is a film of which distributors should sit […]<\/p>\n","protected":false},"author":2,"featured_media":1843,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[36,9],"tags":[176,287,143],"class_list":["post-1840","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-movies","category-reviews","tag-drama","tag-missing-child-boston-international-film-fest-review","tag-thriller"],"yoast_head":"\nMISSING CHILD (Boston International Film Fest review) - Behind The Lens Online<\/title>\n<meta name=\"description\" content=\"Behind the Lens is your home for in-depth movie reviews, filmmaker 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