On the threshold of huge change A simple film, which does not make it bad, because it believably shows the confusion and flashes of emotionality that accompany friendship between people who have known each other for a long time and think they know everything about each other.
The script is based on the true story of Lauren Pomerantz, who wrote the script based on her experience. She infused her autobiographical experience into the script as she and her closest friend Jessica Elbaum walked the path of self-determination.
The film was directed by Tig Notaro and Stephanie Allyne, two comedy actresses. And this is their debut on the other side of the camera.
According to Lauren Pomerantz, in her relationship with Jessica, Lauren herself was quiet, meek and withdrawn, and Jessica constantly commanded her and told her what to do. She could have dragged Lauren on a hike that she struggled to overcome, but she didn’t want to argue. They talked about everything, but they skirted the subject of dating - Lauren avoided it. Jessica was dating guys, and Lauren was just pretending she was dating. She felt the need to open up. Out of the need to open up to her friend, come out for her, Lauren realized that she wanted to write a film story about her inner struggles. Show that later self-awareness also takes place.
(By the way, the touching moment with muffins is taken from the real life of two friends.)
In the film to embody the experience of Lauren Pomeranz entrusted Dakota Johnson, and this role she succeeded. Her Lucy turned out very sweet and alive. A closed, aloof 32-year-old girl who is content only with the company of a best friend named Jane (the prototype of which is a brisk and imperious Jessica). Lucy has a charm. She doesn't look unfriendly, she looks scared of what's happening to her. It is difficult for her to accept her new state, but she tries to get along with it.
The film compares the lives of two friends. At first, it seems that something is wrong with Lucy because she is constantly striving only for her friend, as if she does not need other people. But the writer, in fact, provided different options - she also gives a look at Jane's life as something that seems perfect. As a result, each of the main characters has its own strengths and weaknesses, the main thing for them through the conflict to understand them.
When Jane received an offer to move to London from Los Angeles, it was the beginning of a change not only for her, but also for her friend.
Jane did not hesitate to hear about the need to move, as at the age of 16 her parents took her away from London, and returned to her homeland for her joy.
From the moment Jane announced the move, it was as if Lucy had swayed the heavily trampled ground beneath her feet. All that she did not think about, began to pester: with whom she communicated, what to do, what to do next when her friend left California.
This is a very life situation (what this film is good for, which so naturalistically illustrates it) - sooner or later begins to change what seemed unshakable. And as soon as this something swings, and then completely moves, a whole "huge machine" comes into motion. And, in fact, the biggest changes in life and in a person occur.
Jane is going to leave, Lucy discovers her orientation: seemingly simple events, but they are one of those that contribute to great change. In this movie, that's for sure.
Dramedi “Am I OK?” is a very simple story in the manner of presentation, despite the fact that it raises a serious topic of self-determination, namely the recognition of one’s orientation.
It’s a drama because Lucy, the main character, is faced with her own problems, which she has carefully avoided, and she – whether she likes it or not – has to admit them. She first admits to herself that she likes girls more than boys, then overcomes her unwillingness to make new acquaintances and begins to go on dates.
It's comedy because the problem is ridiculed and the solution is three times easier to find than if it were a deliberate tragedy. The purpose of this film, most likely, to show that the problem of self-determination can be faced not only in adolescence, it can overtake when already over thirty.