As Come Swim gets under way, the short provokes a couple thoughts. First, it’s not really going to be eighteen minutes, is it? Spoiler, not only is it eighteen minutes, it’s two separate short films stuck together with the first nine minutes or so being a dream sequence. Or is it a dream sequence? Oh, the symbolism and the motifs, so much to parse through.
Second thought. Is it really supposed to be this pointlessly pretentious? Is director (and writer, though not much writing) Stewart going anywhere with Swim? In the first half, she’s got some great special effects. Protagonist Josh Kaye–who’s game in his performance, which is about all it requires–is drowning. Not just in the ocean but when he gets out of the ocean. He sits around the open air of his apartment and is drowning. Water dripping down and so on. Pretty good effects work with it. Jacob Secher Schulsinger’s editing is never better than when giving that impression. He’s also extremely parched, while–in his head–he keeps hearing the same conversation about drowning and dying and blah blah blah. Even though Stewart wrote said conversation and likes it enough to endlessly repeat it over the action, even she drowns it out with the St. Vincent score.
Right after the worst effects sequence–Kaye turning into a human prune, which is the worst effects work in the movie but still disturbing–he wakes up from his dream and turns out to be an office drone slash wanna-be yuppie who spends his birthday (the movie’s set on his birthday it turns out) all by himself at the Waffle House, haunted by the repeating conversation.
When Kaye wakes up and Stewart sticks Swim into his mundane life (he smokes weed, but apparently not enough not to vividly dream, he smokes cigarettes in his bathroom with the window open so the landlord doesn’t find out, he has a MacBook Pro on his work desk next to his regular computer), it becomes pretty obvious she’s not going anywhere with the short.
John Guleserian’s photography–which is never more than competent–takes a real dive with the office stuff too.
Other than the first half special effects, the only thing impressive about Come Swim is its lack of self-awareness. It’s a tedious chore.
Written and directed by Kristen Stewart; director of photography, John Guleserian; edited by Jacob Secher Schulsinger; music by St. Vincent; production designer, Margaux Rust; produced by David Ethan Shapiro; released by Refinery29.
Starring Josh Kaye (Josh).