Writer/director Spencer Jamison stars as Mia, a woman with a grounding in politics. She arrives at a restaurant representing her younger sister. Her mission is to tell her sibling’s boyfriend that he’s being dumped. To her surprise, it’s not the partner, but his cousin Ari (Jake Ryan Lozano) at the table. He too has been assigned with the task of breaking up with the partner on behalf of his relative. Having relayed the messages, Mia and Ari laugh at the awkwardness of the situation, and choose to share a meal together. Charmed by one another, they go for a walk together. The more they talk, the greater the chemistry is between them. At Capacity a romantic film in the vein of Woody Allen, and with touch of kitsch.
Mia and Ari are quick on their feet, ruminating on minority politics in a fast-changing United States. “Why not commandeer the language of the radical left?” Ari asks, which momentarily silences his opponent/potential date. At 17 minutes in length, the film dives straight into the conversation, which culminates in a densely lit perambulation across the city. The leads enjoy an infectious chemistry, whether it’s the sharp put downs or the knowing glances they give each one another. Behind the couple comes the chiming strum of a blues guitar, something vaguely reminiscent of Eric Clapton’s mournful chords.
As plots go, At Capacity is fairly bare-bone, but it works given the runtime, and thankfully the gags – an almost kiss is perfectly articulated – land gracefully each and every time. There’s more to Ari than cheekbones and mirthful smiles: he has taken up a job as a public defender. He can match Mia for reverie, quip and wit: Ari is a man of tender gestures and small affections. There’s just the small matter that Mia’s younger sister is being dumped by a man too cowardly to say the words himself, which culminates in an almost neurotic demonstration of shrill shrieks and epithets.”My little sister,” Mia highlights, “sees the good in people even when it’s non-existent.” The more cynical and impish older sibling is less easily swayed by men with fancy words, which might explain why the attraction to Ari comes as a great surprise to the character.
The film breathes along at its own pace, allowing viewers to enjoy the journey with the central leads. It becomes clear that the duo can converse in different tongues; Ari’s Spanish is as pleasing to the ear as Mia’s Korean. It would be churlish to write the film off as a romcom, but rather it might be a dramedy, giving a sharp, prescient look at love and its purpose in the 21st century.
At Capacity premiered in the LA Shorts International Film Festival.
