States Evidence

Title: States Evidence
Rating: 3.5/5
Genre: Drama
Starring: Douglas Smith, Alexa Vega, Maljanda Delfino, Kris Lemche

Following the tragedies of Virigina Tech and Columbine Massacre we’ve seen no shortage of films attempting to tackle the difficult subject, from Gus van Sant’s “Elephant” to “Bang Bang you’re Dead,” this film bears strong resemblance to – particularly the latter of the two – such films in the manner it strives to provide a realism, not bombarded with poetry and imagery, but bluntly displaying its point in a forceful manner.

It doesn’t take long for the smart protagonist in this tale, Scott (Smith), to unveil his plan to end his own life, and capture his own final moments on film; seemingly he comes from a normal family, and knowing this tape will become states evidence to be analysed by psychologists, he delivers insights into his thoughts. It doesn’t take long for news of his plan to spread around the school, and soon his closely knit group of friends wish to join him, each with their own reasons for doing so. From the naïve Sandy (Vega), hoping for a ‘Romeo and Juliet,’ the traumatised Trudi (Delfino), tired of putting a brave face for her friends to hide her depression, and not least the captivating Patrick (Lemche), drawn in by the notion of true freedom from all consequences.

And that is a strong element of the plot; the notion of suicide is observed from multiple angles, analysed through the eyes of those who contemplate it. The complete freedom from all repercussions and consequences for your actions allows your true self to emerge; you are free to literally do anything that you so desire, made all too painfully apparent before the films conclusion. Furthermore, you don’t need to know about psychology to observe the effect this revelation has upon their actions, a lot of the issues are rather spoon-fed but done so in a manner that leaves it painfully blunt. There won’t be an argument about drugs and how ‘they’re bad,’ instead they’ll simply let you see the effects.

This isn’t a film without its issues however. The soundtrack felt rather bland and contributed little to the manner things unfolded, and of the total of six characters, two became complete throwaway cast members, there for continuity purposes and little else. The lead of Smith’s character felt too intelligent for the role – he is intended to be smart, but the manner in which he philosophises the works of Kant and Locke for the audience, and how he eloquently speaks feels out of place given the high school setting. Vega’s character, too, felt inadequately explored, and whilst her naïve manner came across believably, felt like a rushed explanation for her involvement. Instead the film is stolen by Lemche and Delfino; despite being far too old for the role, they somehow manage to create a fitting persona, allowing for a powerful empathy to come across, and it is through these characters that the film finds its greatest draw.

The use of hand-held camera work worked surprisingly well and not in some rushed ‘Blair Witch’ atrocity, allowing personal monologues to present as alone they speak their mind and thoughts as to the unfolding events. The sense of realism is what is being strived for, but only gets half-way there. More time needed to be devoted to the other characters, and not cut down to a 100min run time for those who can’t sit still for longer. There was certainly more to be explored here, and despite the issues with some of the cast, results in a film that ultimately touches on a serious and honest issue. There’s no revelations to be found here, just a gritty truth that all too often seems ignored.