Laws of Gravity

Jimmy and Jon are two small-time gangsters in Brooklyn, who steal to come up with enough money for the rent Life consists of minor thefts, beer at Bobby's Place and sleeping late. They are best pals, but Jimmy takes on the role of the big brother since Jon is younger, self-destructive and not as smart as Jimmy. Jimmy is being chased by a loan shark. When Frankie shows up with a load of weapons Jimmy and Jon see their chance of making some fast money.

Comment:
With Laws of Gravity the director Nick Gomez has paved the way for new possibilities of making feature film. This is a real example of the term''independent'', as well as being low budget. Gomez has directed a very realistic film about four young people in Brooklyn in New York, to a cost of about S 35 000.
Gomez has described the production of Laws of Gravity as an attempt to create a controlled chaos. He has experimented with narrative technique. The dialogue was developed as the shooting went along and he has chosen not to use traditional sound effects or action scenes. Black frames have been inserted between each scene;
a stylistic and effective device which also helped reduce production costs.
The documentary photographer Jean de Segonzac shot the film. The audience is tossed between the character speaking and what goes on around that person in a furious tempo. Also that which is not seen but just heard comes out very clearly and effectively.
Laws of Gravity portrays two young couples struggling to keep their relationships together. The convincing acting gives the impression that the actors have known each other for a long time. The two men, Jon and Jimmy get their money through crime. Their women try to make them change. Jon has a violent streak which bodes no good. They are caught up in a situation that creates problems - and risky conflicts. You ask yourself what will happen. Who is going to get into trouble?
Since the excellent actors freely create the dialogue, Laws of Gravity gives a natural impression. Not even the abundantly used word nfuckn seems out of place. The close cuts that throughout the film are followed by black frames, at times have a very abrupt effect.
After the last scene when night has passed into blackness, only the sound remains . I sense a true solidarity behind this film. I shakily leave one reality and walk out into another.
Joakim Persson

Medverkande
Adam Trese, Peter Greene: Producent
Bob Gosse, Larry Meistrich: Manus
Nick Gomez: Foto
Jean de Sagonzac: Talat språk
English