Stars [2023]

“If I ever win any money”, is a phrase you’ve likely uttered at least once. Certainly, everyone dreams of winning the lottery, hoping they’ve picked the winning combination, romanticizing a perceived notion, fingers crossed. In Stars, the fourth feature film from indie filmmaker Mars Roberge, that dream is chased by a group of homeless women who come to realize some things are just worth more. Assuredly, this isn’t your typical rags to riches inspirational. Instead, Stars is a deviation grounded with a darker, deeper esse, a tragedy embedded with weighted undertones.

An originality, Stars was sanctioned with a $25,000 procurement from a film competition, beating out countless others for the honors. To manifest his vision, Roberge takes to the streets of the big apple in the midst of a COVID flare, overcoming numerous obstacles by way of forethought, shapeshifting as needed. Notably, he sourced the base material from a play written by his longtime friend, Israeli playwright Doron Braunshtein, plying their shared experience of homelessness for orchestration, humanely framing the omnipresent condition.

Written and directed by the indie factotum, Stars features an original score by Michael Cashmore, and predominantly conducts with an all-female lead casting. Lauding the distinction of being the film that returns the ambidextrously acclaimed Rah Digga (yes, that Rah Digga) to screen, her first role since Thir13een Ghosts in 2001, Stars harnesses the collective talents of Debra Haden, Sophia Lamar, Miley Rose, Eva Dorrepaal and Meredith Binder for a worthwhile endeavor. Strewing the 107 minute timescale with intention, Stars doesn’t file the jagged edge, resulting in a work that propounds perspective and compels acknowledgement.

Impulsively, I went head first into the film without acclimation. But I suggest researching the creative behind the film beforehand, simply on the basis of appreciation. While I’m sticking to the film at hand here, let me just edge you with this: Mars Roberge is easily one of the more fascinating individuals I’ve stumbled across in the indie scene, as he has worn a plethora of hats over the years (club kid, musician, dj, stylist, filmmaker, etc). Most definitely a high functioning individual with an inextinguishable flame worthy of the spotlight. Now, let’s get into this….

Centrality, the plot courses an assorted knot of homeless women with varying “somethings” that shelter from society under the guise of their preferred pop-inspired alias who must learn that a glimmer of hope is worth all the money in the world.

Incontinently attractive with seductive black and white visuals and a melodic offset that reels as a quasi-music video for title sequence, Stars gives a point blank introduction to the film’s lifeblood – Bianca (Haden), Oprah (Rah Digga), Madonna (Rose), Martha (Binder), Lauren (Dorrepaal) and Juliette (Lamar). Soon cutting to an ongoing conflict between Martha and Juliette, the group’s oft-referred Lucifer, things progressively escalate when Oprah intervenes, only simmering when Madonna accidentally ends up on the receiving side of a physicality. Although this might seem trivial on face, it is worth jotting that it antagonistically frames Juliette posthaste (if the nickname didn’t do it for you).

Subsequently, it is revealed that Bianca is actually an undercover cop working a sting when she is reverently cited as Commander, and is masquerading for assignment. Woefully, the others aren’t as fortunate, as their demons have paved the course, leaving them stuck in a vicious cycle of doing whatever to get by, unceasingly bedeviled. Given, the routine toils and turbulence of their inhospitable condition is obviously exhibited throughout.

Anon, tragedy befalls. In the immediate aftermath, Oprah, an alcoholic with a gambling problem, scrounges money for yet another lottery ticket, shamelessly remarking that maybe the aforementioned tragedy happened for a purpose. “Your hope is in the stars, mine is down here on the ground,” snaps Oprah, after getting the third degree from the collective to just give it up and accept that they were put on earth to lose. From this point I will avoid spoiling and tell no more of the storied plot.

Without sacrificing harsh actuality, Stars bears an in-your-face authenticity amongst a manufactured backing. As I went in blind, I wasn’t sure what to expect, but was most definitely treated with a meticulous tragedy that stirs and subtly hammers perseverance and empathy. With an excess of attributes, including a well-written script, driven dialogue, and conscious direction, Stars broadly crests. But, fundamentally, some stars shine just a bit brighter, pun intended.

To start with, the cinematography is abruptly inviting. With the claustrophobic urban landscape of NYC backdropping, the visual nomination of a seducing monochrome aesthetic provides. Giving his level best, cinematographer Cody Stauffer takes full advantage, conferring a suitable atmosphere that nourishes the story with a pervading uncertainty, artfully framing, measuring up with a stunning filmcraft that puts the city on full display.

Further, when taken with the proficient editing that cohesively sequences and tailors the rhythm to choice, along with the soft, felicitous score, and you’ve got a transcending production value. As stated in the preliminary, this feature was arranged with a $25,000 grant, but the filmmakers still managed to lavishly achieve. If you didn’t already know, you would never suspect the film’s restrained, economical understructure thanks to the artistic competence exhibited at every turn.

Moreover, the performances are considerable. Arguably cast to perfection with Haden, Digga, Rose, Dorrepaal, Binder and Lamar, Stars leans on the aforementioned motley to achieve. With each making a valuable contribution, they naturally feed off their unified presence, persuasively excelling in animating their respective characters, giving more than a surface glimpse at their traumas and psyche while exposing the bowels of their haywire entanglement. In doing so, they’ve allowed viewers to commiserate at a level far beyond the obvious. As well, the supporting cast holds their own with a mostly quality showing, especially Spookey Ruben and Freddy Bastone as Ralph and Max, both of whom have affecting scenes. Also worth mentioning are supporting performances from John McDermott and David Booker, as well as a cameo from Jim Sclavunos (Nick Cave and The Bad Seeds, Sonic Youth, The Cramps) and a beautifully moving singing performance by Coby Koehl.   

Instead of fussing over inconsequential grievances (any minor err is forgiven considering ‘rona was running rampant during filming), I’m giving kudos. Refreshingly, one of my biggest qualms with indie features was nullified here, an unwarranted duration. To be honest, I audibly sighed when I first peeped the timespan, having been burned time and again, and was fully expecting needlessly drawn out scenes and filler in lieu of substance. But much to my surprise, the duration was absolutely necessary for story and character development. Still, the film feels like it seemingly concludes in a blink, which kinda tells you everything you need to know. A job well done.

Thus, a passionate labor that delivers. With a maxed quiver, Roberge peddles an attraction sufficiently provisioned with artistic punch: an original story, stunning visuals and matched talent while expertly maximizing production on the cheap. Indeed, an effort worthy of the investment. Although the film itself isn’t a lottery ticket, trust, you’re going to feel like you’ve hit the jackpot just the same. As a matter of fact, I’m giving it my highest score to date along with a hard recommendation.

My Score: 9.4 out of 10.