Writer-director Amanda Kramer’s latest film, GIVE ME PITY!, is not just a cinematic experience; it’s an experience — period. Dripping with style and imagination, it is a beautiful example of a distinct artistic vision realized. But unfortunately, what that vision says may be a bit too ambiguous for some viewers.
Recently making its US Premiere at Fantastic Fest 2022, GIVE ME PITY! centers around Sissy St. Claire. Portrayed by the captivating Sophie von Haselberg (IRRATIONAL MAN), Sissy is a multi-talented performer who has just landed her very own television special. Executed to perfection in the style of a ’70s-era variety special, Sissy delivers comedic monologues, sings, dances, and publicly ponders deep philosophical questions related to success and identity. However, as the sketches progress, a mysterious masked figure backstage begins to distract Sissy and derail her flow. What starts as a stumble or momentary mental lapse quickly spirals into something else entirely. Before the curtain closes on Sissy’s special night, the cracks in her “fake it until you make it” mindset grow into a deep, emotional canyon.
The first, most noticeable strength of GIVE ME PITY! comes from the film’s flawlessly executed portrayal of a vintage television special. Utilizing a combination of popular period camera filters, editing techniques, lighting, music styles, wardrobe choices, and sound elements, Sissy’s special could almost be mistaken for the real deal. Out of context, it wouldn’t be absurd to imagine someone stumbling across Kramer’s (LADYWORLD) creation and assuming it was simply another forgotten talent resurrected from the depths of a mysterious YouTube channel.
Keeping with these elements are the terrific performances from von Haselberg and the small cast of supporting actors. As Sissy, von Haselberg shines. While Sissy’s forced facade of confidence and intentional self-deprecating humor deteriorates, von Haselberg navigates the delicate balance of comedy and discomfort beautifully. Moreover, with the canned audience laughter slowly turning to awkward whispers and sporadic clapping, von Haselberg never allows her performance to give up the gimmick or forget the cameras are still rolling.
While more akin to theatre performances, the decision by Kramer and the cast to execute them in such a way make perfect sense. After all, Sissy and her co-stars are performing on a stage in front of a live television audience, right? Requiring more physical and dramatic performances, everyone pulls their weight and delivers. So even when the threatening masked man skulking off-stage throws Sissy off her game (and impacts the film’s visuals), the commitment to the TV special idea never slips.
Playing into some of the larger ideas Kramer proposes with GIVE ME PITY!, these amplified, performance art-style routines quickly reveal themselves to be crucial. Despite Sissy clearly going through something and struggling to keep it together, the studio audience and the assumed crew surrounding her do absolutely nothing. No one intervenes. No one offers help.
By Sissy and the audience (us included) feeding off the experience, an odd exchange of power ebbs and flows throughout the film. When the more aspirational elements of Sissy’s stardom begin to give way, her very human emotions and desperate need for validation fuel her downfall and “our” fascination along with it. Although incredibly compelling, the surreal way in which Kramer delivers Sissy’s on-stage dissociation and internal struggle of self may put off specific viewers.
Giving no deviation from the TV special format whatsoever, GIVE ME PITY! presents no straightforward, traditional narrative. Intentionally fuzzy, this is one particular aspect of the film that some will find as an exciting strength, while others will inevitably see it as frustrating. Wherever one lands on GIVE ME PITY!, one thing is sure — no one is making movies like Amanda Kramer.
GIVE ME PITY! made its US premiere at Fantastic Fest 2022.
Tags: Amanda Kramer, Benjamin Shearn, Cricket Arrison, Fantastic Fest 2022, Patrick Meade Jones, Shelley Long, Sophie von Haselberg
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