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★ 6.220231h 24m

Actual People

Drama

A girl in her final week of college goes to great lengths to win the affections of a boy from her home town of Philadelphia and ends up having to confront her escalating anxieties about her love life, family and future.

Title overview

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Drama

Taon

2023

Tagal

1h 24m

IMDb

6.2

Playback

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Release2023

Runtime1h 24m

IMDb★ 6.2

Panoorin Ngayon

Cast

Kit Zauhar

Director

Isabelle Barbier

Michaela

GR

Gabrielle Richardson

Gabby

FJ

Fraser Jones

Anderson

Scott Mun

Leo

DZ

Derek Zheng

Fred

EL

Emmy Liu

Philly Girl

Henry Fulton Winship

Benji

Audrey Kang

Katie

TA

Tiye Amenechi

Paula

AR

Abbey Rowe

Lucy

Randall Palmer

David

JC

Jackson Crook

Tom

LH

Lily Hung

Professor Hung

JC

Joseph Charles Viola

Sam

Tanya Morgan

Counselor

Lydia Jordan

Girl Interrupting Fight

MK

Melanie Kleid

Juliet

RP

Richard Phillip Smith

Skater Boy 1

Kit Zauhar

Writer

Trailer

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Mga Komento

10 Mga Komento

raiapsara31Jul 18, 2024

•°Random.Weeb°•√Jul 16, 2024

The RockMay 29, 2023

maheer.abdulcarimoMay 29, 2023

source: Actual People

ViTich / ڤتيشMay 23, 2023

The movie is so relatable to me and I really enjoyed the dialogue. There were some clever lines, as well as the raw awkwardness of their interactions. I see myself in Riley's character with college, friends from back home, parents, and the existential crisis of graduating and having to move on into the "adult world." The movie is a little slow, but it is funny and awkward and Riley's character is hilarious. Her final breakdown is so real and personal and she portrayed it so well. I loved the characters and the script. The movie gave me a warm comfy feeling and made me feel seen as a young POC post graduate with absolutely no idea what I'm doing :-)

Olivia JesayaMay 23, 2023

Slamdance Film Festival 2022 Greetings again from the darkness. Spicoli (Sean Penn in FAST TIMES AT RIDGEMONT HIGH) was the poster child for stoners in the 80's. Julie (Deborah Foreman in VALLEY GIRL) taught us the annoying Valley Girl speech patterns, some of which have 'like' stuck around. The Dude (Jeff Bridges in THE BIG LEBOWSKI) epitomized slackers, and Benjamin (Dustin Hoffman in THE GRADUATE) showed the messiness of post-graduation aimlessness. We can only hope that following in these era-defining cinematic footsteps was what writer-director-producer-star Kit Zauhar had in mind with her character of Riley - the prototype of a stereotypical whiny Millennial. Riley is an Asian-American Philosophy major with only a couple of weeks left until graduation. She's also rudderless, frightened by the demands of independence, and unaccepting of society's structure and demands for adults. She was recently dumped by her boyfriend of three years, and is now aimless and unable to function and effectively finish the miniscule amount of schoolwork remaining in order to graduate. Riley seems only capable of whining, while she turns her attention (such that it is) to finding a new soul mate. Somehow this supersedes her need to complete college and move on with life. The approach she takes is all about partying. Drugs, alcohol, sex, and cigarettes become part of her daily life. Friends come and go, and cringe-inducing conversations revolve around things like Boba tea, race relations, and * yogurt. Riley becomes obsessed, or at least misdirected, with emotions for one particular young man. She believes that their one-night stand combined with their sharing bi-racial backgrounds and a hometown of Philly equate to their destiny of togetherness. She's blind to the obvious disconnect with his feelings. What we have is Riley, an aimless protagonist who seeks answers, while paying no attention to the life lessons she's receiving. Supporting work is provided by Scott Albrecht, Randall Palmer, Isabelle Barbier, and Tanya Morgan. The latter has one of the film's best scenes as a therapist/counselor for Riley. The stress of senior year and the adulthood that immediately follows graduation is certainly a hefty burden and one that weighs on many students. Unfortunately, Riley offers us little to care about as viewers. By this stage in life, being without a partner should not be debilitating. She's had four years to focus on what comes next, rather than who. We see Riley reading a Miranda July book, and it would be understandable if filmmaker Zauhar models her approach after the talented Ms. July, but the incessant whining and lack of backbone would probably not be found in a July project. Riley is tough to watch, especially when her crush describes their time together (in the film's best line) as "special in the moment, not significant." We hold high expectations for Ms. Zauhar's future as an actor and filmmaker, and let's hope she's learned her lessons better than Riley.

𝗠𝗶𝘀𝘀𝘆𝗼𝘂May 23, 2023

Really enjoyed this film via Slamdance 2022. I could really empathize with the main character and also was impressed that she wrote and directed the film. Great work!

PushpendraSinghBhatiMay 23, 2023

I'm not the best at writing reviews... where to start? The film throws the viewer an extremely uncomfortable feeling for the first half, but compelling. Luckily it backs off from the young adult awkwardness in the second half, and ends on an uplifting note. I liked this balance. The film definitely has a mumblecore feel to it, though it's obviously not mumblecore as it was well-scripted. Nevertheless, it's always refreshing to see these ultra realistic depictions of contemporary young adult angst. Also refreshing not to have white lead. The film feels a bit early 2010s, maybe because there's a notable absence of smartphones and feels pre-pandemic. Still, a lot of these experiences are timeless. I personally hope she continues making more films like these.

Arif KhatriFeb 20, 2023

source: Actual People

🌹J E Y J E Y 🌹Feb 20, 2023

Look out, here comes a new generation of American indie filmmakers; with distinctly more diverse casting than ever before, even a decade after Dunham's "Girls" and Greta Gerwig perfecting the genre and now helmihg the director's stick, "Actual People" puts on its predecessor's old proclivities for too-long dialogues, badly lit sets, unimaginative framing and hand-held cinematography. What used to actually mean something aesthetically 15-20 years ago, wears itself here like pure creative laziness. You only get glimpses of genuine originality through IG stories-like fragments, but they are far and too few to really give a feeling of intention.