by Shane Conto, Staff Writer
Have you ever wondered what happens after the credits roll on a fun and magnetic romance film? It is quite an interesting question. We spend 90 to 120 minutes with this couple as they start as strangers, have friction, soften to each other, and then fall deeply in love. How long does this process usually take? One night… maybe a weekend? Film is so magical, isn’t it? They find their soulmate in record time and now they are set for life! But are they? Monday begs the question… what happens next?
But how is Argyris Papadimitropoulos’ tale different from all of those romances before it?
Well, that 90 to 120 minutes is now only the first 25 minutes or so. We meet Mickey (Sebastian Stan), an American man living in Athens making a living as a DJ, and Chloe (Denise Gough), an American lawyer on a trip, at a party. They hit it off pretty well. How do we know? They wake up naked on a beach together with a family and the cops standing over them. Trust me, this will not be the last time we see these two naked. They experience the awkwardness of the morning after a one-night stand together and their weekend just keeps going. They bond over a sense of hedonism as they drink and party and have sex in all places at all times. As Chloe leaves Greece, Mickey makes a daring sprint to the airport… what a moment! Movie over. That is where many films would end but not this one. It is only the beginning. The rest of this runtime takes us beyond the reaches of the romance genre.
Oh, is it a tragic journey?
This film certainly becomes that. Who is Mickey? A man child. He has a son he never sees, a disposition to never learn the language of the country he feeds off of, and an attitude that burns bridge after bridge. We see his selfishness and how he slowly breaks down his relationship with Chloe over time. What starts so charming and deflective with sexual advances slowly becomes toxic and acidic to Chloe’s mental state. Chloe, a woman who has dealt with abuse in the past, is responsible, but even she spirals on this journey with Mickey. Her responsibility gives way to this childlike hedonism that shapes Mickey’s life. Uncomfortable parties, awkward appearances at weddings, and naked biking around Athens. What a crazy time! Is this journey emotionally taxing and affecting? Certainly. Does it always feel purposeful and satisfying from a narrative perspective? Not always.
We know that this story is quite volatile at this point, but how does Papadimitropoulos’ direction match up?
There is definitely a sense of energy that runs through this film as the story spans many Fridays, which then give way to rocky Mondays. That last Monday really takes the cake. Papadimitropoulos is in a challenging spot trying to balance a lot of emotion in the film as well. There are quite a few moments that are dark and incredibly hard to watch. The descent of this relationship has cringy moments as well that would make even the steeliest of folks uncomfortable. The story swings wildly throughout, but Papadimitropoulos does a fine job of handling them, even if not perfectly so. One thing is for certain: this is a beautifully shot film. Perfectly framed recurring shots help emphasize the descent of this love affair. A static shot of their living room is originally defined by seductive and fun romance and by the end is usurped by anger and contempt in the form of screaming matches. The colors of this beautiful city and nightlife pop on the screen in an engrossing way. Mickey and Chloe’s hedonism is portrayed in a raw and engrossing way, avoiding a highly stylized and cheesy way that many films take. It is such a beautiful film capturing the ugliness of toxic relationships. Props to the extremely talented Christos Karamanis, the director of photography on this film.
But in the end, what needs to work to fully realize this cinematic experience?
We need to believe this romance in the first place. Sebastian Stan is charming and magnetic as he stands tall at the party we start at. How could Chloe resist? Stan is then able to embody this man-child in such a way that the audience cannot believe Chloe ever fell for him. But why do they stick it out? Stan is that charming and manipulative. He has shown such range in I, Tonya and gets to flex it again in this film. The real MVP of the film, though, is Denise Gough. There is an organic sense of tenderness and vulnerability. She also gets to become fiery and bold in her actions as the film goes on. But two scenes really capture her talent. Chloe makes a tough and painful choice that leaves her trembling and vulnerable, and Gough sells the scene to perfection. The climactic confrontation, the blowing up point, the potential end to this relationship all hit hard like a sledgehammer thanks to the committed performance of Gough as she plays perfectly well off of Stan.
Is Papadimitropoulos’ anti-rom-com worth experiencing yourself?
It is an ambitious tearing down of romance tropes that have been a part of cinema since the beginning. The film is raw, sexy, and emotionally devastating. That is quite the combo. Will this film leave you with a feeling of fulfillment for the journey you just experienced? Probably not. Is that a deal breaker for you? Then this might not be for you. But if you are ready for a challenging cinematic roller coaster of a relationship portrayed so honestly by its leads, welcome to Monday.
Grade: B