CHRONICALLY METROPOLITAN: Cynicism In The City

Chronically Metropolitan is the first feature film by Xavier Manrique, a mentee of David Frankel, with a screenplay by Nicholas Schutt. It is an independent coming-of-age drama that tells the story of Fenton Dillane’s unexpected return home to New York City following his interim absence, or, more bluntly, self-imposed exile. His story in the New Yorker, whose characters bared a resemblance a little too similar to that of his girlfriend’s family, got a little too much attention.

Chronically Chaotic

A stylistic opening across the skyline of New York City sets the artistic tone for Chronically Metropolitan. The use of busy streets against shots of Fenton in a cab denotes perhaps his increasing unrest as he approaches his destination: his family home. Returning because of an offer from an agent that wants to publish the next instalment of the story, Fenton (Shiloh Fernandez) also takes this time to deal with the past troubles he had left behind. This includes trying to fix his parents’ dysfunctional relationship and remedy things with his ex-girlfriend Jessie (Ashley Benson), who is soon to be married.

Shocked by his return and still a little bitter, his mother Anabelle (Mary-Louise Parker) and sister Layla (Addison Timlin) reluctantly embrace him like the ordinary family they’re trying to be, despite their not-so-ordinary situation. His mother has taken up smoking weed as a way of coping with her failing marriage, and his best friend John (Josh Peck) has been supplying it to her; as well as having developed a major crush on his sister.

With the beginning of Chronically Metropolitan focusing on his father’s (Chris Noth) injuries caused during a car crash, Fenton’s character development takes a back seat. With just a few glimpses into the grey void that seems to keep sapping the happiness from him in the form of flashbacks, we’re slowly introduced to his ex-girlfriend.

Too late to change

Clever writing allows the audience to draw parallels between Fenton and his father. A common theme is that writers write about what they know. Both Anabelle and Jessie have been hurt by things the person they loved has written. “There’s no such thing as fiction,” Anabelle quips in response to Fenton defending what he wrote about Jessie’s family, “Just ask your Father”. The impacts of selfishness upon those you love is also a strong and prevalent theme in this film. Addressing and trying to make up for their mistakes could have been the emotional reprisal this film so desperately needed. It could have been another subtle double story parallel between Fenton and his father, but instead they decide that letting people go is the better thing to do.

Once establishing itself as a cynical family drama whose characters are resolutely obstinate, Chronically Metropolitan loses some of its initial charm. The odd family chemistry make certain scenes feel static, awkward and unnatural, although over time this dissipates. The story-line isn’t as fleshed out as it could have been and lacks in-depth character development for the majority of the characters. Its thin story-line could be down to the genre. Coming-of-age films quite often are small scale plots about big deal things, although many other films in the genre have been able to create worlds that feel full.

Alas, the ending is somewhat disappointing too in its ‘agree to move on with their own lives’ finale which so easily could have been the redeeming feature – but again maybe that says more about my own preferences in a film’s ending. Maybe this is more representative of real life.

The acting is convincing, though you really do feel as though these people are blindly wielding the sword that’s doing all the damage. They create an atmosphere that is believable, and along with the cinematography, touchable. Chronically Metropolitan feels intimate and its closeup camera work in places gives it a personal feel. Lingering shots build the intimacy between you and those on screen. In contrast, its large bright shots open up scenes and offset the gloomy closed characters. One of my favourite things about this film, though, is the aesthetic. Its stylish artsy look radiates productivity, which is a nice connotation to have to a film driven by writing. The characters are fashionable and the film always feels modern.

Chronically Metropolitan: Just a misunderstood indie?

Well, maybe not. Chronically Metropolitan lacks spice and the plot does feel rather bare in places, which make the story line a little unidimensional. People might not take to this film because of that – and no amount of “Oh but it’s artistically intentional” is going to fix it. For a nice attempt at a coming-of-age tale about complex city life and everyone’s emotional ties and triggers as well as having some wisdom to impart, it’s entertaining. The chaos that is bubbling beneath the surface of these peoples’ lives is a picture that you – the viewer – can see clearly (over time). It gets you emotionally attached, and in my opinion that’s a good thing.

Above all, this is a quirky, stylish film that sets Manrique up very nicely in the indie film world, and we look forward to what the director brings us next.

Have you seen the film? What do you think? What does it remind you of? 

Chronically Metropolitan began streaming in the US on the 4th of August 2017.