Freddy Long’s romantic drama finds Kiara ‘Kiki’ Price’s (Kalina Karadavis) world turned upside down when she loses the love of her life DeJuan ‘Dee’ Hood (Joshua Willy Germain). In the wake of the tragedy, Kiki cuts all ties with those around her, becoming more and more disconnected as the weeks pass by. With her mother Victoria ‘Vicky’ Price (Debra Mittleman) as her only remaining supporter, it’s up to Kiki to rebuild herself one day at a time.
Agoraphobia’s concept could easily hold its own within the modern landscape of rom-coms. In theory, the tumultuous journey of a woman becoming withdrawn after the loss of her boyfriend holds a lot of value. It’s a real shame that the filmmakers can’t quite find a way to present this exploration in a meaningful, worthwhile manner.
Karadavis gives a strong effort in the lead role, but the screenplay’s overly forced melodramatic flavour does little to support her performance. The same is also true for her equally committed co-stars Joshua Willy Germain and Debra Mittleman who are also stuck with a script that prioritizes one-liners over substance. Too often is Agoraphobia keen on stating the obvious, when it should dial it back and let the character’s inner turmoil breathe a little. There are moments where the film catches a wave and it feels like it’s on to something genuinely heartfelt. These instances are as simple as a lunch date or a day on the beach shared between Kiki and Dee, where the chemistry between the two actors really shines. Unfortunately, the writing undoes the impact significantly. Flashbacks shed light on key chapters of the couples relationship are also used with mixed results, sometimes helpful in underscoring Kiki’s mental state, sometimes forcefully, weaved into the narrative in an unnaturally jarring manner. There’s also a very inconsistent tone to the sound design, leaving a lot of spoken words indiscernible in the process and foley very distracting.
One interesting element that stands out in the film is its cinematography. Whether intentional or not, Long’s camerawork and lighting do a very good job of conveying Kiki’s fluctuating emotional state. She seems alright one day, only to be on the brink of collapse not long after. A mixture of tight closeups and images drenched in shadows mean that her homelife feels anything but safe or inviting. In comparison to the dreariness of her surroundings, the outside world is bright, creating a contrast that highlights the better parts of Kiki’s past and present.
A talented ensemble do their best to save Agoraphobia’s heavy-handed screenplay, but even though its overall execution leaves much to be desired, there are scenes in which it shines, showing promise of what could have been.
