AVAILABLE ON AMAZON PRIME NOW. Directed by Ricardo Perez-Selsky, IRL is a modern film for a modern age. The advancement of technology has brought changes to all aspects of our lives – including the way we communicate. With the invention of internet dating, a whole new pathway opened for use and abuse. Written by Chase Hinton, who also stars as the protagonist Ian, IRL takes the features that have become part and parcel of the technological age and casts them into a cinematic light.
On a conceptual level, the film is very clever and innovative. The use of screen recordings and showing text messages as part of the mise-en-scene may not be a brand new concept, however IRL’s reliance on these features is unique. Perez-Selsky’s utilisation of technology and his choice of visual representations is aesthetically pleasing; they add subtlety, never dominating the diegesis unless part of a stylistic choice. Hinton’s writing has backed this up, ensuing that the visual depictions of technology are not gimmicky or twee.
The bold choices, not only stylistically speaking but also regarding characterisation, are reflective of Hinton’s writing and Perez-Selsky’s direction. Ian’s love interest, Sofia, appears to us as she does to him: via text messages, phone calls and pictures. We are entirely aligned with his view of her. Without being granted omniscience, the audience are forced to share Ian’s concerns over the relationship. Is Sophia who she says she is? Why is she so against video calling? As much as we are engaged with Ian’s worries, we are also rooting for him and his relationship. We share his highs and lows.
Chase Hinton easily creates a character the audience can get behind; he is three-dimensional and flawed – profoundly human. Ian is a struggling artist, which is a familiar character trope, and yet Hinton brings a new angle to his portrayal. Hinton gives an emotional, realistic and engaging performance in tandem with Johanna Sol, who stars as the almost too good to be true Sofia. Sol brings surprising depth and weight to her character despite never being seen on screen, which is quite an achievement. The perhipheral characters of the film are strong – so strong that it would have been nice to see the storyline evolve and utilise their strength. Ian’s roommate, Taymour is a great character (played by Taymour Ghazi). Similarly, Ian’s complex familial issues would have been interesting to dive further into as the length of the film should allow for this kind of side plot. Eric Roberts is excellent as Ian’s father, though their relationship could have benefited from a little more development and clarity.
The protagonists are cleverly developed through a series of intersectional revelations; we learn of their interests, likes and dislikes, hopes and fears. Everything that makes them them. On a surface level, it’s almost like we get an enhanced view of Ian and Sofia’s dating profiles. But in reality, we are led to infer more about the protagonists, rather than being explicitly shown or told, though their references to literature, art and film. For example, Sofia tells Ian she has just finished reading Hanya Yanagihara’s A Little Life, and that it moved her ‘in ways no other book has.’ I can draw more about Sofia from this reference than most films tell us about their characters throughout the entire narrative. This is a clever and daring technique employed by Hinton and Perez-Selsky to create more humanistic and relatable characters.
At its heart, IRL is about making the most of situations. It reminds us that if you want something to work and you’re willing to put in the effort, then great things can happen. In hand with the emotive performance and writing of Chase Hinton, Jakob Freudendahl’s score is truly mesmerising. It brings a completely new level to the film. Ricardo Perez-Selsky’s film is a unique, modern and refreshing insight into the way we form relationships with one another.