The director described this one as a “series of short scenes on the theme of finding meaning in life”. With such a heavy subject matter, it took me a while to find the right mentality for it – as with all films that deal with existence and death, I didn’t want to let this one overwhelm my already-unstable grasp of consciousness and fear of “the void”. Nevertheless, it immediately stood out as potentially captivating viewing. A film attempting to tackle such a mystifying phenomenon was always bound to possess value — if at the very least for a curious mind such as my own. Zachary Wyman’s feature-length project turned out to be a subtly enlightening experience.
For the most part, Something You Can’t Find is comprised of vague abstractions, inner struggles and seemingly eternal questions. According to Wyman, “shifting the puzzle around” was a time-consuming process – scenes expanded and changed, as the project continued to grow in a gradual and “very slow, organic way”. These scenes are presented to the viewer through a number of young men and women – as the film cleverly exposes that impossibly abstract meeting between the endpoint of youthful feelings of the infinite and the inevitable realization of one’s own mortality. The film is indeed a series of short scenes, each contributing to what makes up a much larger picture; a progressively structured story within a plotless film.
The film sets out to explore the purpose of all that we are, of our being — building on one very general theme from many different perspectives. At one point, a woman sits alone, pondering her bodily form. Is this the body I was meant to inhabit? In another scene, a tragic album is discussed. Not an album about love, but of death, as smoke dances ominously in the night. Actually, this inspired scene was taken from an experience the filmmaker found thrust upon him after listening to The Antlers’ Hospice. Interestingly, a lot of the film’s abstract nature was inspired by some of “halfway there” lyrics of bands like Interpol, that can be compared effectively to parts of the film’s dialogue.
As the film evolves, the viewer witnesses the final observations of the eyes of a dying man, while he eloquently re-considers his life as it comes to a close. This voice works to contrast the voices of the young – those who have “too much time on their hands” against he who has “no time at all”. And as one is taken forward, an idea that some meaning in life can be, in some way, clasped – before the question is thrown back and that vague light distances itself again.
Something You Can’t Find at IMDb
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