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directed by Brad Anderson
stars Hope Davis, Alan Gelfant, Robert Klein
Original and daring, this independent work was well received at the Sundance Film Festival last year for many reasons. It does embody, in numerous ways, the ethos of art-house films both in style and content.
The film dives right into the life of its protagonist Erin Castleton (Hope Davis) with no prologue or warning. Immediately we see her get dumped by her longtime activist/space cadet boyfriend who simply shoves a videotape in her hands as an explanation. This sudden beginning, along with a lot of handheld camera, zooms, close-ups and quick cuts, puts us in Erin’s emotional state at once. She is distraught, confused and angry, but the film doesn’t dwell on these feelings, as so many relationship movies would indulge in. Instead we get swept into her life as a nurse, her friends, her mother and her world. Only slowly does the audience start to understand who Erin is, and what kind of romance might work for her. Constructed concurrently with Erin’s world is the world of Alan Monteiro (Alan Gelfant), a 35-year-old plumber who has decided to jeopardize his financial security by studying marine biology. The movie paints a very realistic, very detailed picture of both these people’s lives while slowly working in their independent searches for a partner. We learn much about the circumstances and pressures of their daily routines while we gain slow but deep insight into their personal and philosophical orientations. Despite this unusual amount of information the pace is not languorous. Next Stop Wonderland has a very rapid-fire, episodic nature which shows, for example, numerous guys answering a personal ad Erin placed or Alan’s volunteer work at an aquarium. These segments can be funny, light or cutting
and keep the overall energy level up without revealing much of the resolution. Also employed are clever stylistic touches that continue to show Alan and Erin heading in the same vector but barely missing each other.
The film packs much dialog and much detail into the one hour and forty minute format, giving the viewer a powerful sense of character and of the place they live, Boston. Clearly shot guerilla style in public places like the T (the Boston public transport system), the aquarium and local bars, the overall effect is of a wonderfully precise portrait that brings issues into clear focus but also asks bigger questions that don’t necessarily get answered. Reminiscent of the French New Wave and American director John Cassavetes, Next Stop Wonderland will please those interested in a meaty look at modern romance.