August at Twenty-Two (2023)

A struggling actress, Cal (Ali Edwards), spends time with her friends. While spending time with those friends she accidentally falls in love, but she’s not entirely sure with who. Her life is out of whack, she’s struggling to find her way, and now she’s not sure what to do. August at Twenty-Two is Cal’s story, one that reminds us of a time that wasn’t so good to us.

August at Twenty-Two looks like it was filmed on a next-to-nothing budget. The lighting isn’t spectacular, the cinematography is a bit shaky, and the story itself is incredibly simple. Not one of those things is a knock on the film, however, as everything works wonderfully throughout the course of August at Twenty-Two. The film is a slow burn that so beautifully mirrors the real world, and it does this in a way that allows viewers to feel the pressure that Cal would. She struggles with pressure from her friends, her family, and herself, and as the film progresses, even in the moments of euphoria, it’s clear that she is being crushed. This drama is the perfect reflection of what people are feeling today, and it has the potential to appeal to everyone as a result. We are all trying to make something of ourselves, and we are constantly taking steps to make ourselves better–so is Cal, and the constant reminder that she isn’t fulfilling expectations set forth by everyone is a reminder to all viewers to take it easy, try your best, and roll with the punches. The simplicity of the story is what is so appealing, it’s what makes it possible for viewers to see themselves in Cal and the others, and it’s what I believe will make this film successful.

The camera constantly shakes throughout the course of August at Twenty-Two, but much like the simplistic nature of the narrative, I think there’s a method to Director Sophia Castuera’s madness. The film follows Cal, and while other characters come and go throughout the film, it’s always focused on her; I’m actually not sure if there’s ever more than a ten-second period of time in which Cal isn’t in frame. Cal at this point in her life is struggling, fumbling with the ideas that plague her mind–ideas that she may not make it in this world. Her relationships are struggling, she’s failing to find an acting job, and she seems to be a disappointment to her family–and the shaking camera helps to showcase this, to bring her crumbling reality to life. As simplistic and grounded as August at Twenty-Two is, the cinematography refuses to let viewers find their footing, forced to play along with Cal and understand her plights.

The lighting is the same, but it’s unique the fashion in which Castuera uses light to tell this story that makes it so appealing. Most of the film takes place at night, and it almost feels like viewers are meant to be sucked into this black hole, this void of space where nothing is the way it seems and everything is traumatizing. Again, we are following Cal as she trips and falls time and time again throughout August at Twenty-Two, and the darkness that consumes the screen beautifully represents her emotions. While she’s plagued by the struggles of everyday life, it seems that next to nothing happens in the light, almost like it’s telling viewers that the future for Cal is bleak. Castuera does a phenomenal job of bringing these sentiments to life and enveloping viewers in this world of emotional catastrophe.

Every second of August at Twenty-Two takes an emotional toll on viewers. We are transported to a world not unlike ours, into Cal’s shoes–and we feel like we are part of her story. Through the use of light, the shaky cinematography, and the simplicity of the narrative August at Twenty-Two comes to life, and not a second of the film is wasted. The film is emotionally challenging, and I’d venture to guess that it will mean a lot to the right audience, and audience of which I am part.

Directed by Sophia Castuera.

Written by Ali Edwards.

Starring Ali Edwards, Lilli Kay, Jorge Felipe Guevara, Canning Robb, Clay Singer, etc.

⭐⭐⭐⭐⭐⭐⭐⭐½/10