Why By Design titled as absurd comedy?

Amanda Kramer

Amanda Kramer’s filmmaking journey has taken her on a fascinating and increasingly unconventional path. Beginning with her 2018 release of Ladyworld, a twist on Lord of the Flies that premiered at the Fantasia Fest. 

Since then, her work has become more abstract, leaning into experimental storytelling. Both Please Baby Please and Give Me Pity! each take a bold dive into the realm of vintage-styled experimental musicals.

Other Movies by Kramer

While both films exhibited Kramer’s distinct artistic vision, Please Baby Please stood out for its ambition. Bringing back Demi Moore to the screen helped reignite Moore’s career and eventually led to her prominent role in The Substance.

In her latest work, By Design, Kramer continues to make waves by casting actresses who Hollywood has long forgotten. Robin Tunney, Samantha Mathis, Melanie Griffith, and Juliette Lewis.

Breaking Traditional Scripts

These actresses recognized for their talents with an Academy Award nomination are all given the chance to shine. The roles that stray far from the tired, cliched depictions often given to women of their caliber. 

Instead of playing one-dimensional characters like weary mothers or frustrated teachers, these actresses inhabit a vibrant, stylish world. They were allowed to interact freely, sharing sharp dialogue and quirky exchanges in a visually captivating dreamscape.

Female Actresses with New Chances

This approach marks a significant shift from conventional Hollywood narratives, offering a refreshing escape from traditional storytelling and allowing these seasoned actresses to showcase their actual range.

While most female actresses complain about unfair wages and directors’ behavior, this leads to a fun direction. It was like a girls’ night out for the actors.

Juliette Lewis as Camille

The story follows Camille (Juliette Lewis), a single, middle-aged woman leading a peaceful, simple life with her two close friends, Lisa (Samantha Mathis) and Irene (Robin Tunney). 

One afternoon, after a casual lunch, the women find themselves at a store, where Camille’s quiet existence is turned upside down. While browsing, she spots a stunning golden-brown chair with a sleek, elegant design. 

The Chair

The smooth wood and catchy design would complement any sophisticated home. The chair immediately catches Camille’s eye, and its beauty is undeniable. 

Not only Camille but nearly everyone who sees it is captivated by the stunner’s appearance. Despite the chair’s steep price, Camille desires to own it.

Low Finances

Her two friends equally participate in her admiration of the choice. Meanwhile, the saleswoman, Sarah (Madison McKinley), watches the trio with growing annoyance at their evident passion.

Realizing the chair is beyond her budget, Camille leaves the store to check her finances. She plans to return the following day to make the purchase. 

Mamoudou Athie as Olivier

However, when she arrives the following day, cash in hand, she’s heartbroken to learn that the chair has already been sold. Marta (Alisa Torres) is a woman looking to gift the chair to her ex-boyfriend. 

Olivier (Mamoudou Athie), a talented but heartbroken pianist, beat Camille to it. Devastated, Camille asks Sarah if she can at least touch the chair before leaving. 

Absurd Connection

That’s when something extraordinary happens which is totally absurd. The moment Camille’s hand makes contact, her soul is mysteriously pulled from her body and enters the chair.

This inexplicable event sparks bizarre occurrences, propelling Camille into a strange and surreal journey where her connection to the chair becomes central to her transformation.

Soul in a Chair

The story blends magic, personal exploration, and a touch of absurdity as Camille navigates her newfound existence. Camille’s soul remains mysteriously bound to the chair.

Her physical body is taken home by Irene, who is left to process the bizarre turn of events. The chair, now in Olivier’s possession, seems to have a transformative effect on him the moment it arrives.

Supportive Chair

His mood lifts as soon as he sits in it, and he begins using the chair as an emotional anchor. With Marta having removed all other furniture from his apartment, the chair stands alone in the middle of his space. 

There’s a strange connection between Olivier and the chair, which becomes his sole source of comfort and companionship. It is almost as if Camille’s spirit is bound to the furniture and offering him solace.

Intense Connection with Chair

This unspoken link between them helps Olivier navigate his isolation, giving him the emotional support he desperately needs while also allowing him to confront his loneliness. 

The chair becomes more than just an object; it becomes a vessel of healing, both for Olivier and Camille in a more mysterious sense.

Zombie

While Camille’s soul remains trapped within the chair, her physical body lies motionless at her apartment. Her friends and family, confused and concerned, stop by to check on her. 

However, in a comedic twist, they all assume that Camille is simply giving them the silent treatment, convinced that she’s upset with them for some unexplained reason.

Resentment

They quickly conclude that she must be suffering from a deep depression. However, the narrator offers a different perspective, shedding light on the truth of Camille’s state.

She isn’t depressed or envious of anyone’s life or relationships. The film repeatedly brings up Camille’s favorite quote: “Resentment is like drinking poison and waiting for the other person to die.” 

Glued to Chair

Meanwhile, Olivier finds solace in the chair, perhaps drawn to the calming presence of Camille’s spirit. By Design leans into the absurdity of their connection, treating the bond between Olivier and the chair as any other romantic relationship. 

When Olivier goes out to dinner with friends, he insists on bringing the chair. When he sleeps, his dreams are filled with intrusions of people crowding around him, disrupting his personal space with the chair. 

Frustrated Friends

As the film progresses, the surreal connection between Camille and Olivier strains the patience of those around them. Friends and acquaintances grow increasingly frustrated with what they perceive as the bizarre bond between the man and the chair. 

Their growing discontent is a reminder that, as much as Camille has found solace in this dreamlike reality, the real world can’t be ignored forever. 

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Hardships of Emotions

Kramer’s script delves deeply into existential questions, using the film’s absurd premise to explore philosophical themes. It challenges the audience to consider what living truly means in a world of emotions like love, hate, and jealousy. 

The film examines how these powerful feelings can weigh heavily on individuals and how the pursuit of escape from the complexities of life might, in the end, prove alluring and ultimately unsustainable.

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