Gazer Is a Reminder of When Indie Films Were Exciting

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The city of Newark, New Jersey, isn’t typically featured prominently on screen, especially when compared to the vast expanse of New York City. However, the indie film Gazer, directed by Ryan J. Sloan and Ariella Mastroianni, ventures into this city and its surroundings with the graceful agility of a long-legged cat. As first-time filmmakers and natives of New Jersey, they portray the northern part of their state as an ideal backdrop for a noirish thriller, capable of exuding a desolate atmosphere even in bustling locations such as Journal Square. Gazer depicts its setting as if it were the restricted area of some unseen amusement park, industrial and practical, not intended for public viewing. The protagonist, Frankie (played by Mastroianni), a woman who has lost custody of her daughter to her late husband’s hostile mother-in-law following his untimely death, is portrayed in a similar light. With her short hair and nondescript attire, she moves through life as if she has given up hope of being noticed.

In Frankie’s daily life, she journeys to work, then catches the bus back to her modest apartment, observing others with a keen interest, as if she blends into the background. Her condition, degenerative dyschronometria – a neurological disorder that impairs the perception of time – might evoke thoughts of Christopher Nolan’s movie, Memento, about a character grappling with a mystery while dealing with brain function issues. However, directors Sloan and Mastroianni, who collaborated during the pandemic to finance their project, seemed inspired by classic films like Vertigo, Rear Window, The Conversation, and Videodrome. The final product, filmed on 16mm between work commitments, shares more similarities with Nolan’s debut, Following, than his later works. This minimalist film may seem a bit rough around the edges at times and might not always convey the intensity that Frankie experiences. Yet, it exudes the joy of independent filmmaking, evident in every somber scene.

In the film “Gazer,” co-written by Sloan and Mastroianni, with Sloan directing and Mastroianni acting, we see not only a mystery unfold but also a profound exploration of solitude. For much of the movie, Mastroianni’s character, Frankie, carries the narrative alone as we delve into her daily life before an unforeseen chance to earn money disrupts her fragile existence. This opportunity sends her precariously balanced life spiraling out of control.

Frankie, with her captivating, deep-set eyes that bookend the film in close-ups, often finds herself drifting off and losing track of time. This propensity for daydreaming usually results in her being fired from temporary jobs. To help concentrate, she records her thoughts on cassette tapes, synchronizing them with her work shifts and commutes. These taped musings create a skewed narration meant for one listener – perhaps the daughter who will inherit these tapes someday.

Frankie’s recollections of her husband’s fate are presented in dreamlike sequences that leave the specifics vague, making it challenging to discern whether her daughter is real or imaginary – a comforting illusion in an otherwise aimless life. Struggling to arrange meetings with her daughter or even get her on the phone, Frankie’s attempts at connection seem futile, leaving one to wonder if she truly exists.

As I peer into a window, I catch a glimpse of a heated altercation, which eventually leads me to cross paths with a captivating brunette named Paige (Renee Gagner). She introduces herself, explaining she’s in a tight spot and offers me money in exchange for a favor. With little hope for the future except for the dream of providing for my child, I consent. However, I soon realize that this seemingly straightforward deal is far from what it seems. In many ways, Gazer mirrors a thriller narrative, as I find myself trying to piece together someone else’s story, but for me, this process is hampered not just by those attempting to thwart me, but also by my own unstable mind. When I experience one of my episodes, it feels like an unexpected edit in a movie, with hours seemingly disappearing in the blink of an eye and usually occurring when I’m at my most vulnerable. If Gazer fails to build the necessary momentum to match my escalating predicament, it is still a delight to watch – a production that shares a similar sense of being stuck in time, evoking memories of a bygone era in American independent cinema when films themselves were the focus and not merely stepping stones for bigger commercial ventures.

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2025-04-05 00:54