Indie comedy The GoodTimesKid is the second feature from director Azazel Jacobs, son of avant-garde filmmaker Ken Jacobs. Taking a more mainstream tack than his noted ancestor, the interestingly named Azazel constructs a gentle, good-hearted if slightly inconsequential tale of romantic estrangement around three disillusioned thirtysomethings crossing paths over 24 hours in LA.
Shot in fourteen days with a crew of six, on film stock lifted from a major Hollywood studio, the film is low-budget and proud of it. Taking its cues from early Jarmusch, Hal Hartley and classic Chaplin, the film develops almost wordlessly. The minimal narrative centres around two men, both called Rodolfo Cano, and their helpless attraction to an unnamed girl, charmingly played by the director’s girlfriend Sara Diaz. Indeed, the entire film could be seen as something of a love letter to Diaz, as the two Rodolfos find themselves in orbit around this unpredictable creature.
There are scenes of real beauty in The GoodTimesKid: a central sequence of tentative romance on a houseboat unfolds almost flawlessly, opening up these taciturn characters, drawing us into their world. The camera is used to magical effect, intimate close-ups capturing every flicker across the actors’ effortlessly expressive faces. There are a few indie clichés on display here: hints of artful dispassion; helpless, existentially traumatised men; a free-spirited woman who expresses her independence by dancing to old jazz records. But the film is perfectly constructed, strikingly photographed and never less than involving. The enduring impression is of a sweet, transitory experience, as slight as a backward glance but just as intriguing.