Running Time: 82 Minutes
Certification: 18
Starring: Lloyd Eyre-Morgan, David Tag, Tyler Conti, Liam Boyle, Kerri Howard, Lorraine Stanley, Saira Choudhry, Kimberly Hart Simpson, Jacob Partali
"I think we should skip right to The Fucking End." Those spoken words open Departures, the latest feature from directors Lloyd Eyre-Morgan and Neil Ely, while the statement is backed-up by on-screen text reading "The Fucking End." Benji (Eyre-Morgan) meets at the local cruising ground with Jake (David Tag), while the voiceover clarifies this is not a sexual encounter but instead a dumping. As the aggressive Jake definitively states that this is the end, that turns out to be far from the truth, as Benji laments their relationship's end while spiraling into despair and meaningless sex.
Viewers are then transported to 18-months before the breakup, as Benji goes on a solo holiday to Amsterdam. He meets the future source of his heartbreak while waiting in the airport bar, as Jake is also taking the same flight. The pair get along, having a fun weekend before they give into passion, in what becomes the first of their monthly secret Amsterdam trips. As the film moves along, it simultaneously depicts the aftermath of the relationships end, and how the relationship progressed from discreet hook-ups to eventual break-up.
While narrations can often feel intrusive, guilty of spelling out what the film already wordlessly conveys, that is not the case here. What this offers is a welcome look into the lead's head as he experiences a swirl of emotions, with an enjoyable use of narration lightening scenes involving distressing thoughts. This gets to the heart of the film's power, as it offers great comedic timing while never undercutting the more serious moments, ensuring a necessary weight is lent to the moments that require it. Regardless of the scene, it is all brought alive with vibrant direction.
On top of working behind the camera as co-director, writer, and producer, Lloyd Eyre-Morgan also plays the leading role as Benji. It feels that he intimately knows the character, effectively bringing alive the sense of fun which our protagonist uses to mask the despair gnawing at his mental state. As the character wallows in heartache, he tries numbing the feelings through a cycle of booze and sex, struggling to move forward while glumly looking back through rose-tinted glasses.
As for the source of his broken heart, Jake is shown to be someone full of himself from his first scene. David Tag effectively brings alive a cocky bravado which hides the character's struggles to open up, instead acting with dismissive dominance in order to avoid admitting his same-sex attraction. Moments of sweetness do appear, showing how Jake is capable of being heartfelt, but he cannot commit to anything real. The script interestingly subverts the characters upbringing, allowing viewers to see what past events informed him to become so repressed and toxic. Crucially, it allows empathy for the character without excusing his awful actions.
Through the examination of an imploded relationship, Departures captures how brighter days lie ahead following a relationship's end. It just requires departing from the past which holds you back, and a sunny path will open up with the chance to move forward. Not bad for a comedy-drama that suggests a filthy use for Yorkshire puddings.
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