Apr 3, 20192 min read

Lost Angelas film review

★★★★

Starring: #KorrinaRico, #WilliamWayne, #JonJacobs

The seedy and drug-fuelled world of #Hollywood’s male-dominated film industry is masterfully probed in William Wayne’s #psychological #thriller, Lost Angelas. A real mystery of a film which strives (and succeeds) to purposefully mislead and confuse its audience in order to create a discussion, rather than deliver a clear-cut ending.

That’s not to say Lost Angelas is a difficult film to follow, as such. In fact, the plot is relatively straightforward: Jake Hart (William Wayne), an aspiring screenwriter, searches for his ex-fiancé, Best actress nominee, Angela Rose (Korrina Rico), whose disappearance during a publicity stunt closely mirrors that of actress Angie Malone (Charlotte Lewis) thirty years earlier. The difficulty comes from the film’s many subplots, back-and-forth in time editing (much of the story is told in the past tense) and through Jake’s seemingly inherited #schizophrenia; which causes him to suffer from delusions.

It's a difficult role, full of real complexity. And yet, it's one Wayne excels at playing; easily handling the many facets of Jake's character. Rico is equally as impressive in the joint lead role of Angela Rose, a character who remains a complete mystery, right until the bitter end. But I think what sets this film apart from many others (indie or mainstream), is the absolutely superb supporting cast. There's rarely a foot put wrong by any of the film's extensive cast of supporting actors, no matter how small a role they may occupy. Standouts include performances from #CharlotteLewis (Angie Malone), #DavidProval (Vince Rose - Angela's mafia connected father) and #JonJacobs (a fantastic turn as Walt Warshaw - a sleazy and dangerous movie producer).

As well as directing and writing the movie and starring in a lead role, William Wayne is also responsible for that back-and-forth editing I mentioned earlier. The way in which he uses this particular aspect of the filmmaking process, to mirror and foreshadow, to drift in and out of the past and present, and reality and fantasy, is masterfully realised. So accomplished is each one of his credits, it's hard to decide where Wayne's main strength lies.

Of course, Wayne isn't wholly responsible for the film's success. His marvellous editing only works because of #AnaMariaManso's remarkable cinematography. The lighting is stunning, and the framing is sublime. But it's the film's use of colour which really struck me. Lost Angelas uses a similar method of storytelling to that of (one of my absolute favourites) #EternalSunshineoftheSpotlessMind: where the different hues of colour in any given scene seemed to hint at whether the viewer was experiencing something in the past, or the present, or some delusional conjuring.

The film’s use of the cinematography and editing to create its visual-heavy storytelling is unique and skillfully put together. My only complaint here is that some aspects of the film are a little predictable – mostly down to the film overstating the clues it gives – and so don’t have the clout they should once they’re revealed. But all in all, Lost Angelas is a fabulously contemplative movie. One which still hasn’t left my thoughts. And whilst I watched it alone, watching it with friends would undoubtedly cause discussion, and, if your friends are anything like mine––arguments.