"Summer of A Veil," based on the aftermath of a broken relationship, tracks the summers of two teens attempting to move on with their lives in very different ways.
John, played by sophomore media studies major Mike Arisohn, is dumped by his girlfriend, who confesses an infidelity after he returns home from college for the summer. Arisohn also wrote, edited and directed the film.
Crushed by her desire to see other people, John spends the majority of his summer lounging in a neighbor's empty house, kept company by his borderline-neurotic thoughts and dreams.
His girlfriend, Kim (Nicole Katufaris), tests out a relationship with a nerdy businessman who shows off his money but not his affection. Kim, however, is demanding and conceited, telling John, "I know I was the best thing to ever happen to you." Katufaris does a good job with the role.
Although the opening scene is melodramatic and fake, the storyline itself is believable and easy to relate to. The film's tone is generally melancholic, with John going into hiding and enacting all the steps along the route from depression to healing. Ultimately, he realizes his own growth as a person, saying, "I guess I'm not afraid anymore."
John is a lonely artist, wallowing in self-pity until he meets a mysterious woman outside his telemarketing job. "You've been in the darkness? We all get confused sometimes," she says, reassuring John of his feelings.
Finally, John must choose which path to take when he is confronted by his past. The audience is left thinking about the sincerity of the characters and their decisions.
A few of the scenes between Kim and Tom, her nerdy fiance (Jon Freeman), are humorous and memorable. One of John's daydreams portrays the couple drinking wine on a picnic lunch, discussing business and money matters. The scene is overacted to make it clear how paranoid John has become about his ex; the audience can delight in the melodrama of a scene which could take its cue from Jane Austen.
The most convincing of John's scenes occurs while he is sitting alone in a chair, with jumbled thoughts racing through his head at warp speed. This is the most honest and effective of Arisohn's acting within the film.
In another notable scene, John has a nightmare about Kim and Tom exchanging kisses near a dumpster. During the dream sequences, the camera becomes blurry, the motion is fast and unpredictable, and the lighting utilizes different colors - a technique also used later in the film, when a distraught Kim drives through neon colors and loud music.
The story is somewhat sketchy at times, and misleading when eerie music comes on but there isn't any dramatic action to follow it up. Viewers may also be left with a few questions, as some details are missing from the story.
Given that "Summer of A Veil" is far from a Hollywood film, Arisohn's creative cinematography and universal themes demand respect. The work and time spent preparing the film is obvious.
Photo: Courtesy of Laron Fomby
