“Paperthin” is a 35-minute short directed by first time director Trent England, filmed with a seeming dearth of actors and set pieces. Lucky for us, the film is not paper thin, and provides some character complexity and food for thought on privacy, sharing your feelings, and trying to figure your place in this world. The film is not ambitious, but focused. Two actors carry this film, and while the proceedings take place in Boston, much takes place from a cramped apartment and a coffee house. The result is a crisply shot and tightly edited film that never really feels overlong as you follow it through.
I like how this film opens with Logan Airport, the T Station, and some familiar locations that place the movie right away, long before we see the first glimpse of the Charles River or the Hancock Tower. The opening music is also ambient and engaging, and before not too long are greeted by Susana, the film’s protagonist, who is in the midst of a frantic search. “Paperthin” is a film less described by plot, but character development. We see that Susana is looking for a journal, a book that contains her most private thoughts, and, rightly, that is all we really know. A quick search online reveals that the film is inspired by Meron Langster’s short play, “An Open Book.”
Susana is from Romania, and is played by Elsa McLaughlin, a very talented facial actress who imbues her character with pensiveness and wonder throughout the film. Since the opening is narrated, we are left to observe her actions to gain insight into her mind. Having just moved to the United States, Susana takes to journaling to talk about her experiences – which comes along with criticizing certain things, such as being stuck in the hallway, her American roommate favored with the only bedroom, and her view of the puerility of some local poets at a reading. It’s at one such poetry reading where she inadvertently meets her roommate for the first time; while he has the only room, he is never home.
The strongest aspect of this film is certainly is cinematography and the acting that McLaughlin brings to the table. Many independent films are shot in brightly lit, crisp shots, but never explore playing with lighting for effect. “Paperthin” goes beyond this, shooting Susana slumped in a dark hallway as she observes her new apartment, or, in my favorite shot, pulls close to her face as McLaughlin rolls her eyes from side to side inquisitively. It gives her such forceful character development that I immediately liked her. She also writes in her journal with a fountain pen, left handed, in the dark. It’s taking chances like this that gives “Paperthin” an interesting and unique look.
There are some confusing elements, however, the most staunch that the movie jumps back and forth, and the fact that we, the audience, know events that make interactions between Susana and her roommate Adam (Evin Anderson, who also wrote the film) purposefully tense without relief. Early on we know that Adam probably has Susana’s missing journal, but the film seems less interested in resolving this, using this as more a detective story than a way for its characters to get to know each other better. And while the script is engaging and flows naturally, some scenes between McLaughlin and Anderson lack the chemistry they should. The back and forth between the two isn’t forced, but is just not as deep as it could have been. Susana suspects Adam took her journal – maybe if she found out he did early on, the film using this trust issue as a way to develop each other’s feelings and values, depth could have been added to the film, instead of the cliff-hanging way the movie eventually ends.
At the end of the day, I liked this movie. It has the writing, development, and focus that make independent films such an intriguing medium. The acting by Anderson is sufficient, trumped only by McLaughlin who has a tremendous screen presence. For a short film, it entertains, poses food for thought, and wraps up succinctly. With a longer run-time, and little more depth, “Paperthin” could have uncovered deeper treasure. As it stands, however, it’s a good first film for the Anderson/England duo. I’d be interested to see what the two could do in the future, especially with a full-length feature.
– by Mark Ziobro
