Kensho at the Bedfellow, the feature debut film, starring, and written and directed by, Brad Raider, opens with a bang. A literal bang. And a cat. A towering, talking puppet cat, who, when the man we will come to know as our main character, Dan (Raider), staggering, asks, “Is this a dream?”, answers, “It’s an opportunity – to know thyself.” It seems preposterous, of course: what can an over-sized puppet with whiskers have to say about the ontological questions of the self? And on another, more meta, level, a cinema-goer, in the age of slickly immersive computer graphics and special effects, might ask, why am I sitting here looking at a stuffed animal, creakily moving its pretend mouth? Something like Falkor, the Luckdragon, from The Neverending Story, certainly has its place in a children’s movie, in fondly nostalgic memory, or in the evolution of visual effects, but now? This kind of thing in 2016 in a film for adults?
The very audaciousness and seeming ridiculousness of such an opening prepares us for the journey and tone of the film, winding as it does down unexpected paths and embracing both playfulness and seriousness. Even further, the opening gets at the heart the film’s central questions: who am I and why am I here, and how can art – which might not look like life but like only a crude, perhaps silly, representation of life – have anything to say to those fundamental questions of self?
The film explores these questions as it follows a few days in the New York City life of Dan, a one-hit wonder playwright turned Bedfellow hotel doorman, an appropriate career for a man who cannot decide where he belongs and who does not really have a home but co-opts the bed and apartment of a long-suffering friend who gets only promises, not rent-money. Dan’s habit of taking freely from his friends extends into other parts of his life as well: borrowing from his own body’s health, he consumes diet pills and gorges on desserts; carelessly using the women around him – a woman staying at the Bedfellow, a troubled ex-girlfriend – he takes sex and the women’s emotional investment as his right, leaving them behind when convenient. Continue reading