Ironically, Failure! is nothing short of a triumph. This film, captured miraculously all in one shot as opposed to several takes, is theater (with the added benefit of a sensational string score) in movie form. Directed and written by Alex Kahuam, the tale follows a man on the brink of financial ruin facing difficult or impossible choices every which way he turns. Surrounded by an ever-changing cast of characters, this movie – that feels so intimate – is truly a behemoth, with many moving pieces below its surface and many performers in the spotlight. Led by Ted Raimi who also helped produce the piece, this could be described more as a “three act play” than the traditional film you might expect from horror veteran Raimi, who actually has his roots in theater. A psychological drama or thriller depending how you view it as tensions and violence escalates, it leans heavily into the performers’ abilities and pushes cast members’ skills to the limit to get the perfect take—and I’d say it was worth it.
We start with our Prologue. In an expensive looking home we find James (Ted Raimi), trying to negotiate a personal loan with a bank employee. It’s too late for this line of credit though, as James is six months behind on another loan already and is facing foreclosure. He keeps his chin up and insists his prior history and his choice of banks should count in his favor, but this man is getting his last courtesy call. The bank makes it clear: pay is the only way. Four days is all he has to gather the money, and with that, he sees the woman to the door and faces the gravity of his situation with some good hard liquor. His voicemail is overflowing with angry messages from investors and partners, even some well-wishers who want to help, but James tears the cord out, sick of bad news. As he thinks out loud, another man appears, dressed in pajamas and a bathrobe. He tells James avoidance is pointless and a decision needs to be made. He is listed simply as “Unknown Man” (Noel Douglas Orput). His arrival is mysterious and looks to be a nuisance to James. The Unknown Man tells him to take a stand and claim what is his; as this pep talk wraps up, James’ ex-wife angrily calls regarding their daughter’s wedding and after she hangs up on him, the shouting outside begins.
Michael (John Paul Medrano) is furiously approaching the house demanding James speak to him. He urges James to make the smart decision regarding his business, and James invites him inside to avoid prying eyes. Offering Michael some liquor, James is surprised that Michael knows about the sale of the company. Michael uses this leverage to say he wants a loan, and on top of that, he says the sale is a betrayal to everyone that works for him. James has had it, and sits Michael down hard and exposes that he knows the man has been stealing for years. Countering this point, Michael says his father saved the company when James’ father nearly drowned it. Enough is enough and James strikes the man until he’s unconscious. He almost kills him, but the Unknown Man intervenes, insisting on restraint. Time to focus: we have a man to tie up, a daughter calling about wedding plans, and Chapter One: The Family, arriving.
James’ daughter informs him over the phone (as he’s dragging the unconscious man) that he should expect the groomsmen shortly for a fitting. Feeling the pressure as the group is set to arrive in mere minutes, they head to the closet to store their captive, which takes a comical amount of time, I was shocked he didn’t come to. Having duct-taped Michael up, James puts on his party face to greet his daughter Maria (Melissa Diaz) and the gentlemen’s half of the wedding party. It’s when this group enters that we see that no one else seems to acknowledge the Unknown Man except James. The group is led by the wildly unpleasant Junior (Spencer Langston), insistent that the men wear some horrendous festive garments that he designed himself. Junior’s father doesn’t have to wear the garment, but everyone in the party is expected to look ridiculous. Tensions spike as the group argues and they disperse to get refreshments. James takes this moment and speaks with his daughter, confiding in her the future of the factory and trying to play the dutiful father role, learning names as the boys try on the ill-fitting shirts. Unfortunately for James, one of the group members is headed for the restroom… the room right next to where Michael is being held hostage.
The film’s subsequent Chapter is entitled Greed, and I will say, this truly felt like a live experience. Shaky camera work lends itself to the live experience the way found footage cinematography feels closer to reality. This cerebral piece covers all its bases, injecting drama, comedy, and escalating doses of violence that leave you wondering where this could end. Characters cycle in and out in a frenzy and it’s a rush to keep up with names and faces as the unhappy masses of James’ inner circle pass through his home.
Raimi is in prime form and seems to have hit his theater stride, landing a convincing one shot take as lead and delivering a stellar, dynamic performance, with his shadow Orput never far behind with a snappy remark or wise reply. I can safely say this was a first for me as I’ve never seen film imitate theater in this way, unless in musical form. This delivery felt more raw and determined than if a one shot take wasn’t on the line, giving Raimi (who only had three weeks to learn the material, I hear), a tremendous task. Director and cast achieve synergy here, and create an eccentric little movie. If you’re looking for something completely out of the ordinary, which has a strong lead with a psychological burden being kept on a timer, try this powder keg of unpredictability and thrills created with confidence and creativity.
Failure! screened at FrightFest 2023.