What Doesn’t Float
Directed by Luca Balser
Written by Shauna Fitzgerald
Starring Pauline Chalamet, Larry Fessenden, Roger Howarth, and Cindy De La Cruz
Unrated
Runtime: 1 hour, 10 minutes
In theaters on September 22

by Megan Robinson, Staff Writer

The follies of man are innumerable and can be found everywhere you look. Even in just one city, like New York, everyone makes a fool of themself one way or another. This fact is accentuated by the reasons why these mistakes are made, one after the other, often informed by societal expectations of how we should behave. What’s expected of us isn’t always the most sensible behavior to act upon; when we don’t do what’s expected, though, we can also make ourselves look like fools. In What Doesn’t Float, director Luca Balser and writer Shauna Fitzgerald set the stage with seven vignettes, each about the mistakes and heartaches of various New Yorkers who can’t seem to make the right decision, whether it’s the socially acceptable call or not.

What Doesn’t Float opens with two people gathering cans and bottles, one (Tiffany Rothman) on the streets and one, a paddle boarder (Roger Howarth) in the river. Their paths cross in New York, however, when the paddle boarder knocks over the bottle collector’s shopping cart, prompting ire from a woman, Jane (Alexandra Templer), standing by. She helps pick up the bottles but, when she believes the paddle boarder has stolen some, tries to take his bag away, prompting a struggle and her subsequent fall onto the street. Jane accuses the paddle boarder of being a typical man: uncaring, unhelpful, and violent. Soon, we see in not so subtle ways the other men of New York who prove her point.

Each vignette is shot beautifully, with directors of photography Hunter Zimny and Sean Price-Williams collaborating with Matt Clegg and Charlotte Dupré to create stunning views of New York and its inhabitants. Shots of water glitter from the sunlight, the sunset creates perfect silhouettes, and every close up captures the mesmerizing expressions of each actor. Luca Balser, acting as director and editor, knows exactly what to hone in on in each vignette, the pace of each keeping us engaged with each narrative. The reaction shots of the actors are particularly well-paced and well-framed, keeping things quick when the tone is playful and lingering on imminent danger or watery dreams to keep the audience on the edge of their seats.

Fitzgerald has the task of making each narrative memorable and unique, and almost every vignette fits the bill. While some towards the end of the film drag, they each have memorable characters and particularly memorable endings. Just as well, they’re thematically consistent, with the men central to each vignette, even if they go unseen, failing the women around them. In the second vignette, Jason (Keith Poulson) tries to coerce Alex (Pauline Chalamet) into sex on top of a crate. When she spots condoms and alcohol, she demands to leave, and he plays chicken with her life on his motorcycle, insisting it’s a joke. In the third, we think Marco (Larry Fessenden), a car washer, is just a kind older man who treats Alice (Chanel and Dior Umoh), a young girl late for her church play, with decency. When she almost gets hit by a car in the street, though, he can’t just accept that she’s safe — he has to start a fight with the driver. Fitzgerald weaves these tales together thoughtfully, centering, ultimately, the foolishness of pride.

Each actor gives a thoughtful performance, perfectly naturalistic and in-tune with their characters. Cindy De La Cruz as Ema is a particular highlight from the film, with her growing desperation and heartache a wonder to watch. Not everyone is given meaty material, however. Of course, there are always going to be side characters who aren’t centered in the main action, but some fall to the wayside more than they should. Luke (Amir Royale) is a strange character, both seemingly unimportant to the plot of his vignette and aimless. Though the film uses the vignette form well, it does mean that many elements are going to be less developed than if one vignette was the sole focus. It also means whatever vignette you find yourself less captivated by will feel agonizingly long; the sixth vignette, for example, can feel a bit painstakingly long with its characters Dan (Witon Lewis), Nate (Marc Alexander Pierre), Jackson (Garrett Forster), and Pat (Joseph Longo) blubbering intoxicated nonsense on a rooftop.

Overall, What Doesn’t Float is a compelling film that captures the pride and egos across a city. Each sequence is beautiful to look at and unique, though thoughtfully intertwined all at the same time. The narrative form certainly won’t be for everyone, but the film is a strong debut from both its writer and director.