The remainder of the film concerns Jon’s rather ineffective attempt to heal from Mona’s death. He maintains a friend with benefits arrangement with Beth (Mariah Morgenstern), who is the lead singer of the band in which Jon plays guitar. But other than sex, Jon and Beth’s relationship seems to consist of nothing more than senseless arguing that brings the movie to a screeching halt.
Jon eventually encounters a woman who he swears is a dead ringer for Mona. She is Anna (Comeau again), the mermaid in the traveling carnival that’s in town (I kid you not). Of course, Jon takes to stalking Anna in an effort to find out more about her, hoping to convince her of the connection to his dead girlfriend (girl, RUN!).
“…plays with light and smoke like the best film noirs…”
Some Southern Waters sounds weird, and it is. However, the film is much better enjoyed if you pay only tangential attention to the story. Losing yourself instead in the exquisite monochrome tableaus that Baner and director of photography Karim Dakkon create. Baner plays with light and smoke like the best film noirs, supported greatly by the primarily nighttime setting. The carnival lights emit an especially celestial glow as Anna bicycles away through the crowd of carnival-goers.
Reid and Comeau are good avatars for their characters since both seem tailor-made for noir-ish material like Some Southern Waters. Reid has that perpetually sweaty and anxious aspect about him that makes him a superb unstable protagonist. Comeau, equally beautiful and beguiling, moves at times with a delicate sashay that furthers the enigma of her dual role.
Some Southern Waters isn’t for everyone. But if you like your movies a little ethereal, a little cerebral, and a lot peculiar, delivered in gorgeous black-and-white, then this one’s for you.
"…a little ethereal, a little cerebral, and a lot peculiar."
