Kyrie (Joseph LaDouceur) is stuck at a dead end delivery job, for which one day he delivers to an old widower, George (Daniel Martin Berkey). When the two form an unlikely bond over a love for rock music each of their ability to understand life shifts to something more profound. Glasgow depicts this unlikely friendship and the role that it plays in each of their lives. Sometimes advice can be found in the most unlikely of places, and the two men may just find everything they’ve been looking for, even if they don’t know it yet.
Something ominous and somewhat terrifying lingers over Glasgow from the opening moments. It’s clear that the narrative is dark and harrowing, but it’s not clear why in the beginning. Kyrie and George discuss rock bands and how they have affected them, and there seems to be a lot of joy present in their conversation–but as the conversations become deeper and deeper viewers become aware of all that Writer-Director Florian Gunzenhauser is attempting to convey, and he wants the world to know that the difficult conversations are just as important as the ones that make us happy. As the intensity grows it feels like the allure of the film grows with it, and viewers feel compelled to embrace the unique bond shared by Kyrie and George. It’s a dark but beautiful story about coming to terms with our realities, and it opens the world’s eyes to all they should know about our interactions with others.
In all honesty, the relationship between Kyrie and George doesn’t appear to be typical (and it’s completely unexpected). A young African-American man with an older, white widower–these two things don’t appear to mesh well on paper. However, Gunzehauser appears to develop this sort of relationship intentionally, forcing viewers to question both its validity and its meaning. Glasgow, beneath the surface, is a telling of how seemingly small interactions with strangers and friends can have a profound effect on them, and it begs viewers to analyze and make great use of the time that we have here. There’s no reason that a simple conversation about the Kinks should alter the course of George’s life, but it does. And it’s unlikely that the creepy old man who orders delivery every day will be able to change the way Kyrie looks at his difficult situation, but, again, he does. Gunzenhauser develops this relationship that speaks to the masses, and Glasgow works wonders as a result of this development.
I’ve touched on Berkey’s abilities in the past, and to avoid beating that sentiment to death I’ll leave you with this–he’s as effective and mesmerizing as always. LaDouceur is not an individual who I’ve seen before (and that comes as a result of his limited resume–but don’t expect that to remain the case), but he is incredibly talented. Kyrie’s rooftop conversation with George allows LaDouceur to pull out all the stops, and viewers get to see him express emotions from pure happiness to regret and anger. Glasgow showcases his talent beautifully, and LaDouceur has every opportunity to shine, and he does from beginning to end (particularly in that rooftop scene).
Gunzenhauser does a truly splendid job of bringing Glasgow to life, and he permits every aspect of his film to work to the best of its ability. What he does better than anything, however, is allow this left-of-center relationship to blossom and have an impact on viewers very quickly. That relationship mirrors the real world in so many ways, and it presents viewers with the ability to analyze their own lives, understand the intricacies of love and loss, and better grasp the reality of the world in which we live. Glasgow is beautiful, and through Gunzenhauser, LaDouceur, and Berkey, the beautiful sentiment present from beginning to end resonates with all.
Written & Directed by Florian Gunzenhauser.
Starring Joseph LaDouceur, Daniel Martin Berkey, Juanita Quintero-Aviles, Ryan Reyes, & Michelle Hopkins.
⭐⭐⭐⭐⭐⭐⭐⭐⭐/10
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