Meera Menon’s film Equity manages to tick a lot of boxes off in terms of the kind of characters it depicts and focuses on, from having a female lead (an incomparably skillful Anna Gunn, best-known for Breaking Bad), to a female ensemble, to numerous women behind the camera (led by director Menon, helming her second feature).
One of many truly impressive feats the film manages to pull off is that it not once feels like it’s ticking any boxes – that the film is inclusionary of layered, dimensional female characters is of course, noteworthy, but it is one of its many strengths.
Chief among these strengths is the compelling narrative, which starts from the screenplay (credited to Amy Fox, story by Sarah Megan Thomas, also onboard as a producer and co-star, with producer and co-star Alysia Reiner), and is bolstered by Menon’s capable direction, Gunn and the ensembles’ applause-worthy performances. And finally, the spectacular, carefully considered decisions in the cinematography department (Eric Lin serves as DP).
Noteworthy with Equity are the aforementioned hyphenate actor/producer and actor/producer/co-writer, Sarah Megan Thomas and Alysia Reiner. Their passion for the story is evident, as is Menon and Gunn’s. They recognize the rarity of such a film that not only places women in the center of the narrative, with non-stereotypical characterizations, likewise, they also realize the opportunity to allow the audience to consider what is shown before them. Are the women onscreen empowering, or disconcerting? Some are “good” in the film, some are “bad”, there is absolutely a morality play at the center of Equity.
One of many things I truly loved about this film is that it very much takes place in the real world – technology and information, along with the media, has significant power (Bloomberg’s participation helped immensely for the film to feel as real as it does). Not all the women (nor the men) in the film are angels, nor are they all unsavory.
There is a definite moral gray area that the film operates in, with an ending that does sting to an extent. The comeuppance rendered at the end of Equity is sure to stir discussion – I will allow you, dear readers, to discover it for yourselves, and see how you feel about it.
From one IPO to the next
The opening introduces us to investment banker Naomi Bishop (Anna Gunn), hot off the heels of a botched IPO. This failure haunts her for the rest of the film, which follows her as she moves to her next IPO, that of a firm in the realm of cyber security.
The courting process undergone, to convince the firm’s younger, somewhat-slimy CEO, Ed (Samuel Roukin), in a way reminiscent of Don Draper’s pitches to firms in Mad Men, a narrative is crafted by Naomi to sell her and her team as the best people to tell this company’s story as it heads towards its IPO. Once Ed is convinced, the film is allowed to delve into the various characters’ lives, professional and personal (often intersecting in less-than-ideal ways).
Themes and bits of dialogue resurface in clever ways throughout Equity. One disappointing bit of verbiage delivered to Naomi at the opening is then delivered by her to her second-in-command, Erin (Sarah Megan Thomas – whom, more often than not, I confused for Unreal and Chicago Fire’s Shiri Appleby).
As the personal and professional lives of the characters intersect, a toll is often taken on relationships between characters. One of the film’s unique strengths is that this is not exclusive to romantic relationships. Professional partnerships, friendships, and simple person-to-person bonds are damaged, sometimes irreparably, because the many characters in Equity (both male and female) are after something.
Motivations are not hard to locate in this film. Among them are money, career advancement, money, job security, and, well…money. For a film set in the world of finance, this may come of no surprise, but it still works and resonates. The subject is likely to confront audiences – should you find yourself in these characters’ shoes, would you not be chasing after more? (Money, success, etc).
Should you find yourself dealing with the same professional/personal hardships, would you not react in kind, engaging in morally unsavory practices? Whether the answer is yes or no, you get to see the outcome of the characters’ decisions at the end of the film. What we find is, to me, unquestionably, harshly, and poignantly real.
Much to do has been made about Gunn’s performance in the film, and justifiably so. Gunn is a truly gifted actor. While she is renowned for Breaking Bad, I know her best for her blisteringly powerful performance in FOX’s Gracepoint (the American version of the British hit, Broadchurch – both shows star David Tennant in the lead role, with Gunn taking over for Olivia Colman).
The show was riveting, anchored by Gunn, Tennant, and Virginia Kull, all of whom were enthralling, week after week. Gunn, in both Gracepoint and Equity, manages to craft a compelling and relatable character with her performances. She delivers the goods in big, brash emotional moments, but also carries “everyday moments” with ease, excelling at playing a woman we all feel like we know. Her intonations, delivery, and performance choices must be carefully considered, as they work so effectively.
Make no mistake, however, Gunn doesn’t need dialogue. She belongs in the category of actors who can “do it with a look.” Her expressive face and eyes aid her performance at every turn. I loved Gunn before, and her being in this film is what drew me to it; I will continue to follow her career with great interest. While Gunn brought me into the film, I was overjoyed to discover the other talents involved within.
Shooting Style of Equity
The cinematography of Equity was beautiful and yet did not supersede the feel of “real” in the film. Gunn’s Naomi is often framed by herself, isolated in the frame. Her character is not one which, as the expression goes, “has it all.”
This is not something that the script pounds its audience over the head with, but through skillfully prepared visuals, the sentiment is conveyed. What Naomi does have is the work, and when that is threatened, we feel the weight of it. So much of her life is in the work, and this is juxtaposed with other women in the film who do seem to have it all. How exactly they achieve that vs. the situation Naomi finds herself in is central to the film’s most compelling aspect, and part of what makes it feel just so pertinent, just so real.
Knowing that Equity was of a lower budget (which is not overtly noticeable, given the talent involved), and recognizing how effective the cinematography was, I was reminded of the photography of the spectacular Sarah Silverman-led drama, I Smile Back. It turns out, that was also lensed by Equity DP Eric Lin. Numerous symmetrically-composed shots constitute some of the films more elegant visual moments, but this neither takes away from nor prevents it from feeling real.
Negative space framing and shooting in profile are among other great decisions made between DP Lin and Director Menon. Lin is able to create a satisfying and meaningful visual experience, independent of any need for more money or resources. He is an asset to the indie, micro or low-budget filmmaker.
A Cavalcade of Supporting Players
It would be remiss not to mention the impressive supporting cast. Sarah Megan Thomas capably plays Erin as a potentially untrustworthy individual. Alysia Reiner is sultry and epitomizes the right way to depict LGBT people onscreen.
Her relationship with her wife, played by Tracie Thoms (The Devil Wears Prada), and the parenting of their children is handled no differently than a heterosexual couple’s family dynamic would be. That’s as it should be – this film is very real, and in this part of the film in particular, it deals with the world as it is today. Depictions like this, refusing to conform to stereotypes or caricatures, are the depictions we need in today’s society. It is a small part of the film, but one that is commendable.
Conclusion
I will be seeing Equity again as soon as it is showing in theaters, and I highly recommend you do the same. We, as audience members, vote with our dollars – whether we are aware of it or not.
The films we like we must support, if we wish to see more of the same ilk. I would be glad to see more films driven by female casts and with women working behind the camera. It becomes even more of an ardent desire on my part when we see such a film like Equity that is just so good.
Will you be seeing Equity?
Opens in limited release in NY and LA July 29th, expanding until it goes nationwide September 2nd. Find international release dates here.
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