Written by Nik Mohan

*‘Floating Carousel’ image courtesy of Dramahouse Pictures.*

Synopsis: A web of dystopian dating scenarios collide in modern-day New York City as a Gender Studies masters student, a messy philanderer, an in-denial Sugar Baby, an aspiring cabaret artist and a professional cuddler attempt to find love in a time that has been called the loneliest century.

Modern-day dating has been less about finding real connection or intimacy, and more brought forward as a game: people setting preferences for their desired “type” on dating apps for quick flings—oftentimes; men ignoring their own misogyny to seek temporary thrills. This is only one portion of the ever-expanding maze of the contemporary dating scene. To understand the layered complexities of this issue, look no further than ‘Floating Carousel.’

Arriving at their fourth film, Delilah Napier and Lucy Powers co-write, co-direct, co-star, and co-edit this uniquely entertaining takedown of New York City’s dating-obsessed inhabitants—based on their own true experiences.

The film wastes little time in laying the foundation thematically. From the get-go, we’re thrown into a conversational piece around a dinner table about gender roles and sexual orientation in modern society, prepping us for things to come within the dating web, and how humans might engage and react with each other, leaning outside the norm. This moment demands your attention by planting seeds of things to come.

The film harbors a staggering 44-person cast, with many characters having prominent screen time, including; Elsie Hewitt as Sasha, Julian Cihi as Shanay, Dylan T Jackson as Sebastian, Glori Dei Filippone as Alex, alongside our leads Delilah Napier as Olivia and Lucy Powers as Ruby.

One would assume this could result in a clunky mess of a rollercoaster, but through the clear vision of Napier and Powers, they’re able to steadily weave between relationships with overlapping stories and structure the film around an episodic format—which certainly assists with pacing. Often throughout the feature, you begin to realize why certain elements were presented as early as they were, and answers begin to trickle through. Each set-up usually has a pay-off.

An element that assists the escalating edit is the score, composed by Anna Drubich. The distinct and slightly off-beat “jingle” acts as a supporting splice between scene transitions, predominately in the early stages of the movie. This links together each character introduction and the problematic relationships they’re dealing with.

The film is elevated by the characters… possibly the most crucial part of any feature. Audiences almost never remember the plot nor structural beats from a movie they’re consuming, but rather, their protagonists and antagonists. If someone cares for a character you’ve won them over. Most if not all characters work as their own individuals in ‘Floating Carousel,’ while only few service the story as an entire piece. A standout here is Dylan T. Jackson as Sebastian, an upcoming cabaret artist who (like most characters) struggles between identity and purpose. While Sebastian doesn’t quite change the story at its core, Jackson delivers a highly engaging and believable performance—adding to the frantic web of personalities that drive the story toward its dramatic conclusion.

It’s also worth noting that New York City feel’s like a 45th character, with Napier and Powers choosing to film at real locations that locals might recognize, grounding the world in realism.

As mentioned, the feature is based on true events: when Napier and Powers went on a date with the name man only a few days apart. Conveying this cynicism is our main antagonist: Shanay (slimily played by Julian Cihi), who elevates the main conflict with an underlying instability yet blatant (and intentional) misogyny in his performance. On their individual dates, Olivia and Ruby are rendered confused by Shanay’s lack of interest in them has human beings, and he seizes the opportunity to gloat about his own business ventures to prop up his self-worth (and lack thereof). Shanay also pressures his dates into going up to his apartment (which is hilariously right next door to the restaurant he takes all his dates to), citing his wine collection as an enticement.

Napier and Powers’ background as Yale theater students has showcased itself here, allowing the actors to have fun with the material and generate flowing conversation pieces that ask genuine questions about priorities over temporary thrills. Not only is their writing solid and their direction intelligible for the times, but their performances act as our way of fighting against the “fakeness” that has become modern dating, even to the extent of enacting seemingly “harmless” revenge.

‘Floating Carousel’ is a relevant study on today’s modern dating culture but may struggle to be accessible for a wide audience. For example, older generations may not completely understand the complexities or conversations that are had, and yet, can still appreciate the performances that carry the message home.

‘Floating Carousel’ is the work of vivid intention and vision.

Our score: ★★★★☆
(out of 5 stars)

‘Floating Carousel’ premiered at the Woodstock Film Festival October 17.

Featured