Take This Waltz

The plot pedals over the life of the conflictive protagonist, Margot who is a freelance writer and gladly married to Lou for five years. Lou, a chef who is sweet with old-shoe ordinariness. She meets Daniel, the charismatic artist and rickshaw driver and tries to anatomize the gap in her life.

 

Sarah pollens, Canadian award winning  director and the writer silently leaves the breadcrumbs in the montages and vignettes like dreamy ambiens; blue and orange of the evening  while heading to the cafe in a rickshaw or the blues under the swimming pool when the emotional voltage is high tides. The edgy motifs like a amusement park swing is used to thicken the allegory.

​

Some camera close angles of the Margot’s wandering feet and a zoom out of her walking and navigating places in Toronto so audience is subtly reminded about the emotional voyage and psychological nook. Narrative hopscotches to the sentimental tone and infatuation. There aren’t any easy answers here but it will dot the lines about where inner peace is notarized from.

​

We feel the mundane and the strikingly captivating other end waiting on a lighthouse to be renovated with wedding bells but the audience doubts itself with a hard question that seeps into our skin as we feel the solution dwindling.

​

Margot skims the life of other supporting characters like Geraldine; the mother and close relative and tries concluding several apparent reasons of perplexing. There are other interesting hints coded in quotes to be explored. The abby singer shot will might make you rewind what you know.

​

Screen writing skips over-statement which is supported by fine performances, steady rhythmic plot and clever visual artifact. I recommend that you make time for it.

​

Ayesha Musharraf

07-09-2020

​