Lost Angelas

There is a lot to unpack in Lost Angelas, and the above plot synopsis barely scratches the surface of all the subplots. Angela’s father Vince (David Proval) is a mafia man, and there’s a police investigation into Angela’s whereabouts, not to mention Jake’s schizophrenia. Happily, William Wayne, who wrote, directed, produced, edited, and stars in the film handles it all with ease. The man clearly had a vision for the movie, and it comes across most engagingly.

The editing is jaw-dropping. The mirrored cuts—one image from a scene is reflected by characters (the same or different) in the next sequence—is spellbinding. Angela and Jake are talking at the bar and then smash cut to them on a date. It flows together because their movements on the date match the way the two moved in the bar. The entire film is edited this brilliantly, and it is invigorating and intense. Moreover, this doesn’t even get into the non-linear storytelling nor the flashbacks and hallucinations a possibly schizophrenic Jake keeps experiences.

Wayne’s considerable talents don’t stop there as the lighting and cinematography, thanks to Ana Maria Manso, ensure a gorgeous looking movie. The use of strong, single colored lights for each segment of the story (Jake’s flashbacks, the shooting of the film, pre-dating, etc.) create a rich neo-noir atmosphere. And everything is tied together with Carson Aune’s sumptuous score.

“William Wayne, who wrote, directed, produced, edited, and stars in the film…clearly had a vision for the movie…”

William Wayne as the conceivably delusional Jake hits all the right notes. He is charming and romantic when called to be, is scary at times, and believably confused at others. Angela is played by Korrina Rico who strikes the right balance between frustrated artist, romantic partner, and party girl. In one heartbreaking scene, she tells Walt, who is also directing the movie, that is it impossible for her to concentrate with Jake in her sight line via the mirror. The viewer can’t quite tell if she’s serious or being malicious. That ambiguity is necessary to keep the suspense high.

Jacobs is terrifying as the tyrannical, murderous filmmaker. The man is a smooth talker, and Jacobs has the audience buying into his brand of crazy with just a few words and a devastating look. As the shady, well-connected father Proval knows the key to his character is for the audience never to know what reaction he’ll have. His cruel streak and the tenderness for his daughter come through in equal measure.

While there is a lot to adore about Lost Angelas, it is not without issues. A scene of Jake and Angela in bed, with her giving him the cold shoulder begins a bit abruptly. I don’t mean that the previous scene did not come to a natural conclusion; it had. However, it feels like the scene begins five seconds too late, so establishing the new location and what’s happening is sloppy here.