
What can possibly be more Sundance than a heart-wrenching coming-of-age film? Now, don’t get me wrong. I am not disparaging this genre in any sense. Pathways that have already been traversed can still be quite fruitful as Megan Park’s coming-of-age drama “My Old Ass” proved rather well with some finesse at this year’s Sundance. In this scenario, Laura Chinn writer and director of “Suncoast,” who participated in the US Dramatic Competition, demonstrates entirely other aspects of teenage culture that have been neglected to a certain degree due to the lack of development of the characters around the consistent ideas.
This semi-biographical approach on how teenager Doris (Nico Parker A.K.A The Last of Us) shaped her story sees Doris essayed by Chinn, so portraying Doris’ life becomes quite a paragraph where her mother Kristine (how lowly Laura Linney is used when Bit is in laughter) is a drama queen while her brother has nowhere but impending doom to head towards. I know I’ve described Doris as the main developing character moving forward in the text and I stand by my description as Doris has a lot of spectacular traits, the only problem she has is being elusive at just the right moments and being supremely self-exiled due to her brother’s condition, thus making it very hard for her to get any compliments about her stunning looks. Flash forward to a point where I would say the illness reached its climax (because it was approximately the time when the patient was wishing they would stop suffering) the day had come when the family was thinking of taking Max to a care home. Kristine, during this period, begins long and extensive hours working the night at the hospice.
It is important to notice that Paul Warren, a political activist attempting to lock up Kristine and Scott, is located in the same crowded hospital where Max has been taken by Kristine. At this point he is also part of the Terri Schiavo fiasco, which is at the crossroads of the right-to-die debate.
In the course of what started as two strangers merely making eye contact, Doris and Paul became subtly nudged towards the journey of elaborating the story in hand and equally paving the way towards the compassionate aspects of friendship. Rebecca Chinn on the other hand, showcases characters far from gelling in as she questions the need for ‘volume’ and ‘level’ accentuated characters. If we choose to signify Doris from the same lens, Kwan’s unfinished story bears witness to some serious dramatic implications lingering around Chinn’s narrative. Dorr, Ella Anderson, Daniella Taylor, Amarr, and Ariel Martin were least bothered. Doris’ cancellation engine, on the other hand, suffered a serious setback. Wanting to throw a party the very moment their mom was out with her friends, the friends ganged up against her. Dennis is able to ignore all of Dorr and her elite friends. Gradually, he amuses himself: he begins to move to friends and acceptable parties at school. Reassurance when Chinn noticed us when Chinn stopped noticing us. We as a group had a love-hate relationship with school. It’s no surprise: we are the target.
But when the need arises, teenagers understand how to take responsibility, support each other, and invariably have no issue with the truth.
Doris then gets her new infectious friends who come in when at any time she needs them to come.
However, Kristine and Paul-Doris cannot have the emotional center of the film, as they start and don’t stop running between the hospice and Doris’ friends, her slightly possessive latest fixation with Kristine and her Paul-Doris New relationship does. What is extremely vexing is the last: Paul just comes and goes too easily and too often in this story, like a blip, at the moment when Doris needs to consult someone who does not need her for something else. This one is, essentially — well, it could be. There is a fair bit of material related to this friendship to almost say that it could be a sufficient excuse for a movie on its own. But, in this one, and while rebuking her in respect of this methodology, Chinn does not use this element as a part of the main story. So the story of this movie also does not reach the expected splendor.
In the movie Suncoast, Kristine black child’s mother struggles to find out her priorities and how to take care of them. This movie doesn’t explain Kristine’s background and history and does not give context the the relationship between the child and the mother. Kristine tries to maintain a safe distance from the world considering her interactions to be petty and offers defensive remarks. I believe that there are deeper stories yet to be told and Kachaeva has more in stock to share with the world which would eventually put her mother’s perspective into context. Her mother on the other hand limits her freedom and nurtures an overly proactive side of her. Doris’s endeavors to convince her mother that she has grown up and is now capable of sitting in the front seat of the car are comical in nature. There are many intriguing elements in this movie that are yet to be unfolded.
But there is a sensibility there, and as Doris has done many times in the past but with increasing conviction every time there is a time when she is able to picture herself as the highest in her priorities. In that regard, it turns out that she has other things to do and therefore has to attend the prom on a significant day for Max and she does not get worked up about her absence. I must admit that for me the film “Suncoast” ended up quite nicely and with both antagonists reconciled but still it gives an impression of an unfinished history that was all very interesting which is quite a pity for a film that needs to be viewed.
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