Whilst films set around Christmas more often than not romanticise the holiday, there are still the occasional offerings that bathe in a downtrodden light that, for many, hits a far more realistic note. In the case of Christmess, writer/director Heath Davis perhaps leans a little too heavily into the downward spiral of his main character, resulting in a sporadically funny-ish drama that’s more a “feel something” than a “feel good” festive flick.
At the centre of Davis’ film is Chris Flint (Steve Le Marquand, reuniting with Davis following their 2016 drama Broke), a Silver Logie-winning actor whose reputation has been more than a little tarnished due to his excessive alcohol abuse. Once so in demand that he even filmed a love scene in a movie with Chris O’Donnell (this amusing revelation proving even more so due to Le Marquand’s own connection to O’Donnell, having worked on the 2000 actioner Vertical Limit together), Chris’ fame has long departed – so much so that not even his agent comes to his aid to pick him up from his latest extended stay in rehab.
In the blistering heat – it is Christmas in Australia, after all – Chris makes his way to the halfway house he’s mandatorily assigned to stay in; a new life hopefully beckons. It’s here where the majority of the film’s narrative unfolds, with Chris’ sponsor Nick (Darren Gilshenan) and fellow addict-in-recovery Joy (Hannah Joy, lead singer of Aussie alt-indie band Middle Kids) completing the three-hander that Davis’ film ultimately becomes. Nick and Joy are heavy on spiritual guidance and prayer (this almost feels a little too catered to American audiences), and Nick’s “One day at a time” mantra becomes Chris’ unavoidable way of life.
Given that so much of the film takes place in the house, it’s thankful that Le Marquand and Gilshenan are able to deliver performances that make us understand the former and warm to the latter. Joy, unfortunately, always feels as if she’s “acting”, with very little of her dialogue ringing true in the manner she delivers. Though the film calls for her vocals to be showcased throughout – this also feels a little shoehorned for the sake of highlighting Joy’s music career – the ease of her musicality is not transferred to her as an actress; and it’s a real shame as the sequences of her bonding with Chris could make way for something special had it managed a certain authenticity.
Outside the walls of the halfway house, Chris starts to slowly rebuild his life, hoping to mend the relationship with his daughter in the process. He starts off by getting a gig as a shopping centre Santa – his unenthused response to being so bringing Billy Bob Thornton’s far superior performance in Bad Santa to mind – hoping that showing responsibility in securing a job and maintaining sobriety will be the first step in his daughter, Noelle (Nicole Pastor), integrating herself in his life once more. Chris having to mend this bond proves one of the film’s strongest aspects, but it never quite manages the emotional weight it deserves; not helped by the fact that it’s only Noelle’s unexpected presence at the shopping centre that seemingly spurs him on.
Whilst there’s a certain refreshing mentality – however ironic – to Davis embracing one’s own damage and leaning into the temperament that not every story revolving around Christmas has to be entirely merry, Christmess rarely allows a moment of levity to seep in. The “lighter” moments aren’t exactly audibly humorous, and as much as the film earns points for embracing real-world truths, it can’t help but all feel at odds with a production that wants to give in to the Christmas spirit; I mean, Chris, Nick, Joy and Noelle as character names is a little on the nose, no?
TWO STARS (OUT OF FIVE)
Christmess is now screening in select Australian theatres.
