“Chemical Hearts” director Richard Tanne spoke to Insider about the film’s “bittersweet” ending and what he hopes fans take away from it.
“I think it’s gonna disappoint some people, and maybe all people on a certain level, ” the 35-year-old filmmaker told us. “It’s bittersweet. But that’s OK.”
The film, based on Krystal Sutherland’s 2016 book “Our Chemical Hearts” and now available to stream on Amazon Prime Video, centers on 17-year-old high school senior Henry Page (Austin Abrams), who finds himself drawn to a mysterious and secretive new transfer student named Grace Town (Lili Reinhart).
“Chemical Hearts” is told from Henry’s perspective, chronicling his first heartbreak after he falls in love with the person he thinks Grace is.
Tanne, who wrote the screenplay, said that he was impressed by how the story goes ‘a little bit deeper than your average teen romance’
“I loved how it embraced the dark side of being young, the pain and the grief and the loss, the idea of crossing the threshold from being an adolescent to an adult for the first time,” he told us.
By the end of the movie, Henry learns about Grace’s tragic past. On their last day of senior year, the characters don’t end up together. Instead, they prepare to explore different futures, with Henry heading off to a school for writing and Grace taking a year off to continue therapy.
Even though fans might be disappointed by the love interests splitting, Tanne said that ‘not everything has to be escapist’
“Sometimes, younger people watching movies don’t know that it’s OK to have unhappy endings because they’re fed a steady stream, a steady diet of escapist happily ever after movies,” he told us. “And that’s OK.”
He added: “There’s a place for those, I’m not knocking them. But I just wanted to make something that didn’t talk down to the younger audience. I wanted to make something that either meets them at their level or asks them to reach a little bit higher or dig a little bit deeper.”
Tanne said that having to confront that ‘bittersweet ending’ could also be useful to viewers
The director described the conclusion as bittersweet because “there’s hope at the end, maybe not for their relationship, but for other aspects of their lives.”
“Maybe it will be helpful for young people to see that and walk away with the same sting that Henry has, but to know that it’s going to be OK, to know that Henry will be OK,” he said.
Abrams, who was 22 when he filmed the movie, told Insider that hopefully, audiences will empathize with Henry.
“I think in terms of I supposed how he’s navigating relationships, I feel like hopefully at least anyone can relate to that,” he said.
Abrams told Insider that Henry and Grace’s relationship status at the end speaks to the film’s realistic nature
Abrams shared similar sentiments as Tanne, telling us that they tried to “portray the characters as honestly as possible,” which ties in to the conclusion.
“I think there are some people that meet one person and that’s who they’re with for the rest of their lives, who actually are Henry’s parents in the movie,” the 23-year-old actor told us.
“But then there are other people, and I think it’s probably a larger number, that are going to be in multiple relationships and some of them, a lot of them aren’t going to go well. I hope that that’s an aspect of the movie that people are able to relate to.”
Abrams added that he’s “perfectly fine” letting fans decide for themselves what their main takeaways are from “Chemical Hearts.”
“I hope that maybe they take away things that I didn’t even think of, because everyone’s different and at a different point in their life and hopefully will be able to relate to it in different ways.”
‘Antebellum’ has a ‘Get Out’ vibe, but doesn’t live up to its twist
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definite..
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definitely shouldn’t be spoiled even a little. Once that revelation is absorbed, however, the movie becomes less distinctive and inspired, reflecting an attempt to tap into the zeitgeist that made “Get Out” a breakthrough, without the same ability to pay off the premise.
Originally destined for a theatrical run, the movie hits digital platforms trumpeting a “Get Out” pedigree in its marketing campaign, since there’s an overlap among the producing teams.
More directly, the film marks the directing debut of Gerard Bush + Christopher Renz, who have championed social-justice issues through their advertising work. The opening script features a quote from author William Faulkner, whose intent will eventually become clearer: “The past is never dead. It’s not even past.”
If that sounds like a timely means of drawing a line from the horrors of slavery to the racism of today, you’ve come to the right place.
The story begins on a plantation, where the brutal overseers carry out grisly punishments against those tilling the fields. A few have just tried to escape, led by Veronica (Janelle Monae), and they pay a heavy price for their resistance, which does nothing to curb her defiance.
Also written by Bush + Renz, the script take too long before revealing what makes “Antebellum” different, but the middle portion — a “The Twilight Zone”-like phase when it’s hard to be sure exactly what’s going on — is actually the film’s strongest. (Even the trailer arguably gives away too much, so the less one knows, the better.)
The final stretch, by contrast, veers into more familiar thriller territory, and feels especially rushed toward the end, leaving behind a host of nagging, unanswered questions. That provides food for thought, but it’s also what separates the movie from something like “Get Out,” which deftly fleshed out its horror underpinnings.
Although the filmmakers (in a taped message) expressed disappointment that the movie wasn’t making its debut in theaters, in a strange way, the on-demand format somewhat works in its favor. In the press notes, Bush says the goal was “to force the audience to look at the real-life horror of racism through the lens of film horror. We’re landing in the middle of the very conversations that we hoped ‘Antebellum’ would spur.”