by Nathaniel R
It did occur to us that a visual series stopping to center on a new rom-com would be a risk. The romantic comedy genre doesn't tend to scream "visually interesting!" (though obviously it can be). But we knew most of our readership would be watching so... why not? As it turns out, though, with a true filmmaker at the helm (Andrew Ahn of Spa Night and Driveways) it wasn't a risk at all as a Best Shot discussion. Fire Island isn't just funny -- the "Heads Up" game scene snapped above is only one of many hilarious bits in the excellent screenplay from Joel Kim Booster -- but a real movie-movie, too. In short, it's one of the year's best films and we are blessed to have it.
While you'd probably prefer a "ten funniest moments" or "five sexiest guys" list -- hey, we can do those too if this gets engagement -- the visuals are more than worth discussing! Conversations about visual storytelling are ironically in short supply on the internet whenever movies are discussed. The focus is always on acting/casting and screenplay/messaging. And there's a LOT to say about those of course but the internet is already handling that so we're here to talk visuals. Here are the three overall smartest choices director Andrew Ahn, cinematographer Felipe Vara de Rey, and editor Brian A Kates make in telling this particular story...
If you've ever been to Fire Island you will recognize this walk
BRONZE MEDAL CHOICE - Best Shot
ENVIRONMENT AS CHARACTER
We've shared our frustration before that most contemporary movies -- perhaps conscious of their futures being watched on phones / laptops are told in about 90% closeups as if establishing and wide shots and any shots with more than one character in them are a necessary evil only to deployed only when they absolutely have to be. Ahn and his team understand that that isn't the case at all. Right away, they give us the full arsenal: wide shots, three shots, two shots, medium shots, closeups, everything. The wide shot -- we'll be coming back to this -- is especially handy if you want to immerse the audience in a place. Fire Island has a sensational cast but Ahn understands that the island is one of them, top billed even! Really selling the titular character makes the repeated crucial line about time operating differently there really sing; we're right there with this family of friends in their special place, savoring each moment whether everything slows down or flies by too quickly.
One of those slow down moments, beautifully judged, is the conversation on the roof while Howie (Bowen Yang) smokes weed and Noah (Joel Kim Booster) sets the agenda for the week. It's a gorgeously immersive scene, already endearing us to the characters and helping us to feel those faraway vacation vibes while casually laying the groundwork for the plot.
Hilarious, sweet, raunchy, great to look at, and just a really smart adaptation of Pride & Prejudice
-Ryan's choice for Best Shot. Read his thread on Twitter
An image that evokes twilight gold and brings it into the erotic embrace of nighttime hedonism.
-Cláudio's Choice. Read the Article at The Film Experience
The shot itself is interesting because of the lack of clarity...
-Ben's choice for Best Shot. Read the article at Ice Cream for Freaks
SAVING THE DRAMATIC LIGHTING FOR THE WILL & NOAH ROMANCE
Maybe it's watching Fire Island three times in close proximity to a sloppily made blockbuster in which every shot choice feels somehow both random and stiff, but all praise to Andrew Ahn for his direction that pulls off the magic act of feeling spontaneous and light-touch though it's obviously carefully planned to deliver each element in impactful ways. Note how the shots that feel most exquisitely lit in movie-movie ways are almost all about the Will & Noah romance. It's not as central to the plot as the Howie & Charlie story, but it is the "lead" romance if you will.
Look at how much character detail you're getting in this one shot, just from the physicality of the actors!
THE WIDE SHOT TO ACCENTUATE THE ENSEMBLE FAMILY & COMEDIC ACTING
We've reached peak Fire Island. The most perfect choice Ahn and team make is how often they're willing to show us the whole cast rather than picking and choosing which closeups to feature as lesser filmmakers are always doing. This illuminates the nature of queer families in endearing ways. It also considerably ups the rewatchability factor. Next time through focus on just one actor -- any actor -- and marvel at how much you missed the previous time. There's none of the disconnected feel so many films have now where you can tell the actors weren't even in the same room to fill their shot/reaction shots.
Ahn and team often let scenes just play out in wide without cuts giving us multiple character/plot/laugh beats from the same shot. Like this one of the cast walking to see the sunset...
Silver Medal: Best Shot
You can trust me. I'm a doctor.
The first beat is the Charlie/Howie flirtation, the punchline is Mother Eric (fab Margaret Cho) letting out a squeal when she realizes Howie's crush is a doctor, and the flourish/exclamation point is Luke and Keegan (Matt Rogers & Tomás Matos) making a split second femme-pride proscenium with their arms up, walking the group out of the frame. That ushers in the cut (to a picturesque view of the island with Pride flags). Chef's kiss. No notes.
This next one has a couple minor edits but it's a perfect encapsulation of how the movie is firing on all cylinders with each actor constantly "on" rather than waiting for their closeup. The director is confident enough to pan away while jokes are in progress (there's no awkward waiting for laughs) to the next joke already in progress to the next. And the camera stays far enough away to absorb the physical comedy (which is abundant).
My personal choice for best shot is, then, is naturally a long shot that incorporates physical comedy and is a great example of the movie's constant effortless multi-tasking.
We get a perfect sideways laugh just when we're in our feelings about the friendship drama. Howie gets his heart broken -- which we watch with puppy eyes from behind the window while Erin and Noah have a serious discussion about friendship. Erin is arguing that Howie needs space, that Howie will be just fine.
Nathaniel's Choice for Best Shot
Howie's body, in the moment, doesn't agree.
Erin abandons her sensible hands-off approach for a hysteric punchline on top of Howie's physical punchline "OHMYGODMYBABYISDROWNING" returning the movie to its delicious flamboyant register. In this exact moment it hits the heart and the funnybone simultaneously while extolling the virtues of queer families. In this moment I couldn't have loved the movie more.
What was that moment, and/or that shot, for you?