Ally Pankiw’s heartbreakingly beautiful new film ‘I Used to be Funny’ was one of the eight films entered into the 2023 Feature Film Competition at the Leeds International Film Festival this month. The festival took place over seventeen days in November and included many exciting up and coming films. Although Pankiw’s film did not win the acclaimed prize, her successful submission to this competitive festival is a testament to her exciting prospects as a new film director and I look forward to seeing how her career progresses.
After renowned success in the television world with credits including Netflix’s ‘Black Mirror’, ‘Feel Good’ and ‘Schitt’s Creek’, Ally Pankiw makes her film writing and directorial debut in this astonishing new film that tackles hard-hitting but incredibly important issues surrounding sexual assault and PTSD.
A small-town, domestic drama, the film initially feels reminiscent of Greta Gerwig’s ‘Lady Bird’ with striking close-up shots and beautiful cityscapes, but it takes a dark turn when the horrific source of Sam’s depression begins to surface. The soundtrack really stood out for me as it perfectly matched this bittersweet melancholy with a carefully selected array of tracks by the likes of singer-songwriter Phoebe Bridgers and composer Aimee Bessada.
The film stars Rachel Sennot as Sam, an au pair and stand-up comedian whose traumatic past comes flooding back when fourteen-year old Brooke (Olga Petsa) goes missing. Sennot’s portrayal is raw and genuine, capturing a vast complexity of emotions over the course of this film, and I sincerely hope her on-screen talent is noticed and rewarded after this mature display. The casting in general was brilliant. Although Sam’s youthful fragility made it difficult to believe that she could be over a decade older and caring for Brooke, the ambiguity surrounding this age gap was exactly what made the relationship so sincere and believable.
The recurring flashbacks somewhat detracted from the film’s powerful storyline as there was no real distinction between the past and present scenes to indicate a linear sequence of events. In fact, once the narrative truly began to unfold, there was a slight risk of it resembling a ‘whodunnit’ style mystery which trivialised the difficult themes of the film. However, this was ultimately avoided through the addition of more nuanced elements of dark humour and complex emotional reflection.
The most powerful strand for me throughout the whole film was the intricate relationship between Sam and Brooke which helped to prove that recovery is not linear – whether that be recovery from personal trauma, grief or just losing touch with a friend at a moment when you needed them the most. The final scene in Niagara Falls brought tears to my eyes. The ending was abrupt but utterly satisfying: a perfectly raw depiction of female companionship and coming of age.
4/5
A special thanks to Leeds International Film Festival.
Image Credit: Leeds International Film Festival
