Seven friends head to an exclusive party for one last celebration before one of their own decides to leave New York City behind. As the evening starts to implode, each member of the group faces their own conflict, forcing introspection as the characters take stock of their lives. Director Jeffrey Moore’s ensemble drama Timings is an exploration of life, love, and purpose during one eventful night out in The Big Apple.
Ricky Whitcomb’s script opts for a nonlinear narrative, split into seven chapters as we track each of the friends individually over the course of their night. This unique structure adds some measure of intrigue and dramatic irony, letting information and insight be revealed as the audience sees scenes from different perspectives. However, it can also seem disjointed, as the characters’ stories can feel somewhat out of step with each other, and their conclusions don’t wield the same power as a result.
Timings’ subject matter and style feels familiar, echoing films like Go and 200 Cigarettes as it follows a group of twentysomethings out and about in a bustling city. The story opens with troubled couple Luke (Quinn Nehr) and Livi (Kait Dieppa). Livi is set to leave town the next day for a nine-month dancing job, leaving their relationship uncertain. A squabble between the two escalates and they break up, fracturing the group as they enter the party and sending each of them off onto their own journey. Luke flexes his newfound freedom and finds an unexpected connection behind the bar, while Carla’s (Jacquie Bonnet) attempts to stir up trouble backfire and Benny’s (Mateo Parodi) drug-fueled night takes a surreal turn. There are moments of humor threaded into the script as it shifts through different tones, but each character ends the night contending with a poignant personal truth.
Moore’s creative team makes good use of limited resources to craft the world of Timings. The bulk of the film takes place at a “ridiculously exclusive” party attended by the leads, held in what appears to be a warehouse. Production designer VJ Antonelli has worked to craft a pulsating atmosphere, making use of flashing lights and the exposed brick to create a sense of place. Moore, who also shot and edited the film, has made use of his extensive background in directing music videos, teaming up with music supervisor Adam Tilzer to punctuate the narrative with musical interludes throughout. Tilzer’s music pumps through the film, simultaneously playing for the partygoers and the audience. Moore has a keen eye for capturing the emotional highs and lows of a night out, letting the camera slowly sweep through the crowd to find moments of revelry and pain on the party’s dance floor. Somewhat hindered by a small number of background actors, the visuals would land with even more impact if they were able to pack the room full of bodies, giving the party increased scale and grandeur.
The film has a solid ensemble, the performances feeling natural even as they imbue their roles with joy, heartbreak, terror, and rage. Bonnet gives depth to Carla beyond her catty asides, finding the insecurity underneath her severe exterior. Logan McKenzie is also a highlight as Gracie, achingly lonely and sweet as the newest member of the group who hasn’t found a sense of place in the city. The chemistry between the leads allows the audience to feel the history of the friend group and the weight of their conflicts.
With his feature film Timings, Moore examines love and identity as one dramatic night forces a group of friends to ask what they truly want out of life. A simple yet heartfelt story is elevated by a nonlinear structure and a musical spirit.
