Best friend of edgy off-beat films Breaking Glass Pictures embraces the spirit of the 2018 quirky indie comedy "Wobble Palace" by releasing the DVD of it on October 30, 2018. This praise relates to "Palace" occurring over the October 30-31, 2016 weekend just ahead of the presidential election that year.
Breaking does another solid by providing a spot-on synopsis of "Palace" in the press materials. This makes life easier for over-worked reviewers everywhere who welcome any chance to half-ass it. This brilliant prose that aptly begins with the phrases "auteur-driven," "hyper-independent," and "Millennial anti-rom-com" is below.
"WOBBLE PALACE takes place on the eve of America's most traumatic election, where a couple on the verge of a nervous break-up decide to split their house up over the weekend. Desperate to make new connections, Jane and Eugene find themselves in a series of unpredictable misadventures, sexual escapades and emotional traumas. From this simple premise we delve into a manic and hilarious world of lust and mistrust, revealing the identity crises and narcissistic self-loathing at the core of the millennial experience."
This adventure begins with easily the most divisive narrative technique in modern film. A series of texts establish the context for Eugene (producer/director/writer Eugene Kotlyarenko) and Jane to divide their shared abode that artist Jane has decorated in early Pee Wee's Playhouse for the Halloween weekend. Folks who have good eyesight and embrace all innovations apparently love this popular exposition tool. Those of us whose eyes are less-than-perfect and who are less fond of copycat gimmicks do not embrace this method as much.
The real action begins on the morning of Saturday, October 30. This is the day that Eugene has the house. Seeing more of his morning routine than we need to includes watching him create the worst comb-over in a LONG history of cinematic bad efforts to hide a receding hairline,
The day of Eugene starts well before rapidly picking up momentum that leads to an epic crash-and-burn that deprives him of every last shred of dignity. This nottie surprisingly gets a hottie blonde photographer that he meets through a dating app. to come by. It is even more surprising that she sticks around after uncovering the truth about his relationship with his "roommate."
Eugene soon putting himself in a literally and figuratively compromising position proves that all men are stupid. His learning the extent to which an angry woman hath fury provides the audience great entertainment and our boy intense anguish. His relationship with Jane being much closer to hate than love at this point does not help matters.
The primary action then shifts to Jane, whom we join on Sunday morning after a wild Saturday night party. This starving artist trying to hold her own with one who lives in an expensive loft is very amusing.
For her part, Jane is spending her day at the house with a member of the Millionaire Boys' Club who is a regular booty call. Watching this horny pair have a room but needing to wait for a bed is both relatable and hilarious. This two-pump chump making an ill-advised dump adds more comic drama to their intercourse.
Kotlyarenko augments this study of the mating habits of Millennials with apt flashbacks that establish how they get to where they are at the present of the film. This includes the more traditional rom-com style segment that can be considered when Eugene met Jane. These scenes not only depict the joy of new (if not true) love but the cyclical nature of everything.
All of this wraps up with Jane and Eugene reuniting after their weekends of freedom. This leads to them determining if their flame is reignited, has burned out, or simply is a Hanukkah light that adequately is keeping the relationship going until they either fall back in love or experience enough hate to call it quits. Real and reel life allow accurately predicting which of these is the outcome.
The special features include a separate audio commentary by Kotlyarenko and his entertaining four-minute introduction to 15 minutes of deleted scenes. The elan with which this aforementioned auteur describes his film, the support of Breaking, and the context of the footage that ends up on the editing room floor communicates his tremendous love for the art for which he bares all.
The breaking news regarding all this is that "Palace" presents a compelling portrait of a modern man-child clown who receives a harsh wake-up call on starting his day alone in bed.