After throwing abusive stepfather figure and local drug dealer Gordy (Bryant Carroll) out of the family home, art student Bella (Alexandra Faye Sadeghian) forlornly hopes that he will stay out of the lives of both her and fragile mother Yeva (Pooya Mohseni). However, he’s back almost instantly, Yeva caving in to Gordy’s pleading and assuring Bella that “your dad isn’t mad.” Bella decides not to wait around to find out, fleeing to New York City with Bandit, her pet flying squirrel.
The Big Apple presents Bella with an opportunity to start again, but what opportunities are available when you’re a homeless runaway? Heading to a coffee shop run by the kindly Owais (Ramin Karimloo) after a night on the streetd results in her getting a job as a trainee barista. Wandering the area further, a sojourn to a nearby dive bar tended by the savvy Marta (Jessica Pimentel) provides Bella with more work and puts a roof over her head (and Bandit’s too, let’s not forget). Wannabe fashion designer Standrick (Jaye Alexander) rounds out Bella’s newfound clan courtesy of a run-in at the clothing store at which he works. As Owais tells Bella early in the proceedings, things will get better but, with the unstable Gordy in pursuit of Bella, is that even possible?
Written and directed by the wonderfully named Isaac Hirotsu Woofter, Bound is a thoughtful, beautifully performed indie drama which immerses the viewer in a meticulously crafted side of New York which is the antithesis of so many glossy “If I can make it there” fairytales. There’s plenty of grit and grime, naturally, but there’s also hope in abundance and an overarching message that family is where you find it. The avoidance of persistent doom is welcome – that’s not to say there aren’t downbeat moments, but the proceedings swerve the usual performatively sombre clichés.
The initial scenes in the city reminded me of late 70s/early 80s Abel Ferrara in terms of the depiction of the NYC “slice of life” away from the touristy centre and, for me, that’s in no way a bad thing. The cinematography of Maximilian Lewin and Jake Simpson doesn’t possess that 42nd Street scuzz of a Driller Killer or Ms. 45, opting for a cleaner, more focused look, but the carefully chosen shots build an accurate picture of the suburbs in a way which gives the area its own distinct personality without ever distracting from the main story.
One of the canny methods by which Woofter brings his screenplay to vivid life is the casting of a cadre of seasoned Broadway professionals, which means the viewer is unlikely to be taken out of the tale by spotting a more recognisable face from a studio production which draws the attention to that performer’s work, rather than being swept along with Bella’s journey. It also means that there’s convincing, nuanced, unshowy work across the board. Pimentel is arguably the most well-known of the players, having appeared in Orange Is The New Black across several seasons, but her portrayal of Marta immediately makes you forget her other work.
Of the more experienced folks in Bound, special mention must go to Bryant Carroll as the twitchy Gordy. As the de facto villain of the piece, he’s well served by Woofter’s uncommon diligence when it comes to giving us a fully fleshed-out bad guy, but Carroll makes Gordy even more than the often unpleasant person whose need for control almost always crosses the line in worrying ways. In many ways, he’s a tragic figure, dogged by personal demons and unable to truly articulate his needs, the resulting frustration often leading to threatened or actual violence. Carroll is remarkable, allowing the watcher to see the constant struggles and psychological issues below the angry surface, which makes Gordy far more interesting than the bogey man he first appears to be.
Of course, the supporting turns could be the best ever and Bound would still not work if the lead weren’t up to the task of carrying much of its emotional weight. Alexandra Faye Sadeghian is phenomenal, giving one of the best performances I’ve seen in a long, long time. Apparently, some of the events are based on her own experiences and, if that’s the case, my sympathies are with her first and foremost: feeding that past into her portrayal of Bella shows a particularly bold and fearless approach to the material.
Our introduction to Bella has her hiding in a treehouse – probably the same treehouse she hid in as a younger child – and her bond with Bandit shows her need for a connection she’s unlikely to receive from her increasingly addled and wraith-like mother. As with most of Bound, Bella’s emotions are measured and realistic, making the moments when she finally breaks down all the more heartbreaking. I’ll admit I paused the movie a couple of times to have a cry myself. It’s that kind of experience.
Also, Bella’s pithy back and forth with Standrick lends the tale some levity and although it’s probably a little of a push to say that Sadeghian and Alexander shine as an unexpectedly comedic double act in the midst of the darkness, their fiery but friendly exchanges are a delight. Alexander is a treat, giving Standrick a defiant edge which is inbuilt from his character’s general trials as a gay man, but also showing his vulnerability and weariness at having to deal with that kind of prejudice on a daily basis. When Bella lashes out and throws out a particular epithet that begins with “f,” Standrick’s reaction is that Bella should take some time out to calm down, but there’s also a side of him that clearly bristles at hearing that word yet again. Again, it’s another great performance in a work brimming with great performances and Alexander is undoubtedly one to look out for in future.
If there’s a section of the movie where Bound isn’t quite as sure of itself it’s the third act, when a coincidence spins the plot off into revenge thriller territory and the bonds between Bella and her city support network are tested, leading to a showdown which is both incredibly messy and too neat at the same time (apologies, you’ll need to see the movie to appreciate that confusing description; it’s a huge spoiler otherwise). Even so, the quality of the writing and acting navigates the odd bumpy spot with skill, leading to a final scene which may be laced with uncertainty, but is also shot through with the promise of what’s to come.
I’m acutely aware of how wanky this is going to sound, but Bound captures the true spirit of independent film making, showcasing the talents of a committed cast and crew making a movie their way without an eye on what is going to play well to an audience. The fact that it had me gripped from start to finish is testament to Woofter’s superb screenplay, a keen sense of pace and a slew of grounded, detailed performances that make the hundred and forty-three minutes fly by. The subject matter may be dark, but it’s handled with a deftness of touch that it never feels like the downer you might be expecting.
Bound (2023) is available to stream now.
