"Sweet Thing," could be a masterpiece if he would do one thing: Strip it of it's contrived plot. The film covers the well-worn territory of abusive fathers, political corruption, religious idiots, women as whores, rednecks as drunken misogynists, and black men as fallen angels. David's script, when it is trying to tell a conventional story, fails miserably.

Ah... But when the film tries to be artistic, when it tries to deal with real honest emotion, it often soars like a child's glider. David's protagonist, a confused, troubled and unsure artist named Sean is a wonder. When the film concentrates on his relationship with a female named Hannah, it's just full of perfect, spellbinding moments. A scene where she attempts to sleep with him - where she attempts to fuck him, really, is one of the most bold, real and tight moments in film I have ever witnessed. Fox's grimace and confused face says everything we need to know about his character. If the film were just about their relationship, stripped of all other plot, it would be a masterpiece. The actors, Jeremy Fox and Amalia Stifter, take incredible risks for David. They expose themselves, not only literally, but emotionally as well. Fox's Sean is a wonder. Odd, slightly unattractive and tussled, he opens up within the context of the film's romance. Fox is able to bring this dark, confused and hurt angel out into the open and allow us the opportunity to begin to get to know him. Unmasked, as it were, he is a wonderful character. We care deeply for him. Conversely, in a way, it is Stifter's charm as Hannah that also makes us care for Fox's Sean. And, in turn, care for her as well. Too bad they both have to suffer the ridiculous plot contrivances here.

David's film is a artwork at times. Mainly, it seems, when he doesn't try, when he simply trusts his instincts. His visuals can be a bit pretentious here and there, but often, they simply make the film divine. Here is a great example of the beauty of the film: In one sequence, Sean goes slightly crazy and paints himself red while at Hannah's house. He freaks out. It's an awesome scene made great by the artistic use of black light and the color of day-glo paint. When Sean goes over the edge, he makes a sad victim of Hannah. In the morning, Sean lays naked, still covered in red paint, in Hannah's arms. Upset by the horribly conflict they have undergone, she finally asks him to leave. Fox does and David shows him, still covered in the red neon paint, now cracking, walking into the light of day, looking ridiculous, almost humorous, and yet somehow sad. It's a bold choice to show this, really. Most films would simply cut away after the harrowing conflict that occurs. They would leave us to assume the morning after. It somehow almost cracks the illusion of film language itself. But still David shows it to us. It is not pretty. It is slightly absurd. But it also as real as a moment can get. "Sweet Thing" shows it all, whether we are able to digest it or not, whether it fits into our idea of the lexicon of cinema or not.

This is a awesome first film. David is a young man, at 25, and as he matures, his work may become truly revolutionary. "Sweet Thing" surely has much going for it: It's bold use of images and color; It's ability to waver between the grotesque and the beautiful; It's resonant, emotional score, which David also cowrote; (He plays in a band or two); But most of all, it's natural and intimate moments between characters that often crackle with an artist's alchemy. David allows his characters to go to the extreme. Sean's breakdown does go into well-worn territory, in a way, but David makes it fresh by allowing himself almost no limits. When Sean is no longer a victim, and instead becomes the assailant, there are powerful and bold moments that almost crush us with their intensity. David gets this on film. The actors flower, especially Fox, under his cinematic command. With a more subtle and mature script and a more subtle and controlled sense of cinematic palette, Mark David will become a unique and talented filmmaker. He's already a genuine artist. And a visionary. What a treat it is to see his first feature film, even if it isn't perfect.

Note: Also with Michael Dalmon, who was also in "Attack of the Bat People" (See AFF Day Two). Dalmon is credited with "Casting" here as well. His work here and in "Bat People" is vastly different and yet both are truly consummate performances. He is definitely worth looking out for.

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