Matt (Sean Patrick Finnan) is a wonderful man. He’s loving, understanding, and he works hard to take care of his partner, Jess (Helen Tzoutis). The two are in love, and nothing can stand in their way–except maybe Matt’s ex-wife, Susie (Irena Huljak). When Jess begins having disturbing visions of a dead Matt and of her life falling apart she has to ask herself if these things are coming true or if they are simply Streaks in the Mirror.
Streaks in the Mirror is incredibly dark, and while that darkness plays a role in the narrative, it’s sometimes so dark that it becomes difficult to follow. There are a lot of things going on throughout the course of Streaks in the Mirror, and they each take part in the story–but with that much going on, there needs to be physical clarity in order for viewers to understand what is occurring. The sometimes less-than-clear visuals pose a threat to the narrative, and in those moments of visual confusion some of the brilliance of the script is lost.
While the darkness and the less-than-adequate clarity cause a series of struggles for Streaks in the Mirror, beyond that, the intention is brilliant. The narrative is troublesome, and tonally it dabbles in some truly dark subject matter. The tone and the aesthetic match one another beautifully, and that allows viewers to attempt to look past the aesthetic shortcomings. While I remain disenchanted by the fact that it’s physically difficult to decipher much of what occurs throughout the film, and I feel like this next success was done sort of unintentionally, but the visual struggles very much mirror the internal struggles of Jess (and humanity as a whole). Again, I really believe that this parallel was done unintentionally, but it resonates with me nonetheless.
There are certainly moments when the film manages to reach viewers: the aforementioned darkness, some twists and turns along the way, and even a moment or two when the acting is good. But Streaks in the Mirror just feels like a low-budget project. Now, that’s not to bash filmmakers or even films that operate on a tight budget–because great things can be done even when your pockets aren’t that deep. However, this film just feels a tad underdeveloped, and that feeling exists throughout the film’s entirety and in each and every facet of the production. I struggled so much with the acting, literally cringing from time to time as the actors attempted to convey something genuine, and that steals from the positives that exist in Streaks in the Mirror. The entire production ends up feeling frumpy and even a bit sloppy at times as a result of the acting issues.
Through the darkness shines the narrative. Writer-Director Apostoly Peter Kouroumalis creates a story aligned with the darkest fears of his viewers. Losing a loved one and losing one’s self are difficulties that we all face now and again, and, while Kouroumalis’ story is told in a very unique way, it reaches viewers, and viewers are able to understand the purpose of Streaks in the Mirror.
Streaks in the Mirror struggles in a number of ways, and there are a handful of times when I had issues understanding what was occurring as a result of the film’s shortcomings. It’s not a bad film by any means (and that’s not at all what I’m attempting to convey), and its purpose is powerful and strangely honest–but those hurdles that constantly trip up the film’s production create instances of flatlining where it’s nearly impossible to follow. Streaks in the Mirror is written and paced well, so the meat and bones of the film are sturdy–but the aesthetic and the acting cause the film to fall away from true success.
Directed by Apostoly Peter Kouroumalis.
Written by Apostoly Peter Kouroumalis, Greg Russell Tiderington, & Helen Tzoutis.
Starring Sean Patrick Finnan, Irina Huljak, Greg Russell Tiderington, & Helen Tzoutis.
⭐⭐⭐⭐⭐⭐/10
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