Afterschool specials have become a forgotten genre since their heyday of the late 1980s and ‘90s. Message-centric short films about social issues facing kids and teenagers were commonly broadcast during after school hours, when their target audience was likely watching tv. They were low-budget and heavy-handed, with the actors or producers often talking directly to the audience at the end.
Choosing the aesthetics of this genre is an interesting choice for the indie film 1985, but it fits the subject matter so well. In it, oldest son Adrian (Cory Michael Smith), returns home to Texas for Christmas with his family after a three-year absence. This 2018 indie film, directed by Yen Tan, uses the guise of a low-budget afterschool special to deliver a subtle and moving slice of history that functions as a commentary of both conservative families and the country as a whole.
Where the film departs from the afterschool special genre is through its use of so many small details. The cinematography subverts the expectation of melodrama by sneaking in dynamic camera movements into what appears to be static shots.
Leaving specific things unsaid also upends the viewer’s expectations. So much is unspoken and hints of what’s going on with the main character are on full display. The word ‘gay’ is never said aloud, though silent clues reveal the main character’s reason for spending so much money on Christmas gifts for his family.
The movie begins with Adrian’s dad Dale (Michael Chiklis) picking up him up at the airport. There’s not much greeting except for complaints about Adrian’s heavy bags. All other dialogue between the two is merely functional, creating an obvious tension that never lets up.
Chiklis is able to work in some nuance to his stereotypical, gruff Texas father character. Similarly, Virginia Madsen adds depth to her peace-making, submissive wife character, Eileen. Adrian’s teenage brother, Andrew (Aidan Langford), who’s recently gotten into theater at school and loves listening to Madonna, also elevates his character beyond what you would expect in an afterschool special.
During a dinner scene, Eileen asks about Adrian’s roommates back in New York City. Madsen’s performance nails the soft-spoken, hiding-your-emotions sort of mother. She is quick to want to help Adrian in lots of ways, including with a bath after Adrian comes home late and vomits.
In another scene, Adrian cuts his finger while chopping up some vegetables, and Eileen rushes off to the bathroom get a Band-Aid. This scene is the perfect example of how director Tan reveals what’s actually going on through actions instead of words. Adrian dumps the veggies into the garbage. He pauses for a split second, then dumps the knife, and even the cutting board, too.
Reveals like this are well-paced, but figuring out Adrian’s big conflict is a little predictable. So when the final, literal reveal happens in the third act, it just confirms what the viewer has already guessed.
The predictable nature of the movie doesn’t take away from its beauty and impact. The avoidant family dynamic and communicating more through what isn’t said is this film’s strength. It’s consistent use throughout the film builds up to some emotional final scenes.
Luckily for us, none of the actors break character and start talking to the viewer at the end. Understanding the emotional impact and how to respond to the topics in the film is left to the viewer.
1985 is streaming on Kanopy.
- Eric Beach