THE STORY – 16 year old Pyteh splits his time between the wrestling mat and his family’s struggling Circassian diner in Newark. A single impulsive decision by his hustling father changes the course of his life, shaping a tale of pride, legacy, and masculinity.
THE CAST – Talha Akdogan, Riley Keough, Barry Keoghan, Harry Melling & Jaliyah Richards
THE TEAM – Kantemir Balagov (Director/Writer) & Marina Stepnova (Writer)
THE RUNNING TIME – 102 Minutes
After making an international splash with “Beanpole” in 2019, it’s no surprise that Kantemir Balagov was able to assemble a talented, starry cast for his follow-up film “Butterfly Jam.” The credits feature names like Barry Keoghan, Riley Keough, and Harry Melling, but without a doubt, the most memorable member of the ensemble is a nameless pelican. The large bird is a beguiling presence that unquestionably drew the loudest reaction from the audience at the film’s Directors’ Fortnight premiere at Cannes. And yes, it doesn’t speak well for the film’s other qualities if an unusual bird is the thing most audience members will likely speak highest of. “Butterfly Jam“ is yet another film that explores the brittle dangers of prideful masculinity, making wild leaps between being wanderingly dull and suddenly, aggressively nasty. If the effect is to disorient the viewer, then Balagov has succeeded, but that doesn’t mean it makes for a watch that’s anything but disagreeable.
Although the aforementioned trio of famous names draws the most attention, the film’s true star is Talha Akdogan. The young actor plays Temir (or as his family affectionately calls him, “Pyteh”), the teenage son of Keoghan’s character Azik. Temir is a promising wrestler, and his dad is encouraging of his athletic prospects, constantly bragging to anyone who will listen that he expects his son to compete in the Olympics. Azik and his sister, Zalya (Keough), came to the United States from Russia as children, assimilating into the Circassian community in Newark, New Jersey. The pair works at a diner where Azik’s delicious delen recipe (a sort of stuffed bread from his home region) is a point of pride. Melling plays Marat, a boisterous family friend who always seems to have a supposedly-promising scheme in mind.
The film spends most of its first half following this close-knit group as they go about their daily lives: Temir wrestles, the very pregnant Zalya tends the restaurant, and Azik and Marat attempt various plans in hopes of changing their fortunes. The two men are practically living in a humorless sitcom; in one instance, they’re convinced that a cotton candy machine will be a profitable addition to the diner. And in another, Azik gets his hands on a rare pelican because Zalya expressed her affection for the bird after seeing it on the news, with Azik hoping that this unasked-for gift will convince his sister to let him name her unborn child. But eventually, a sudden violent act (as foreshadowed in the film’s opening moments) changes everything for all members of this family, both blood and found.
The film’s wandering nature doesn’t draw viewers into this underexplored community. Instead, the languid handheld camerawork and minimal energy make the film feel like an aimless amble. This unsteady tone is reflected in the varied quality and styles of the performances. Keoghan is engaging, doing his best to give his character a playful angle that makes him more endearing than those around him. Keough gets very little to do, often serving as the sensible voice speaking out against her brother’s actions and his friends’ behavior. And Melling gives a wildly over-the-top performance, screaming and bursting with aggression. At times, he calls to mind Joe Pesci’s fiery character in “Goodfellas,“ but with far less focus in his portrayal. Luckily, Akdogan (making his acting debut) is sympathetic, charming, and easy to root for. The unassuming Temir is essentially the ideal child that any parent would hope for, with a good head on his shoulders and clear aspirations for his future. In fact, his father and Marat act more like the stereotype of wild, unrestrained teenagers, with their constant fighting (play and otherwise) and lack of groundedness. By comparison, Temir is far more mature, and Akdogan believably plays him as wise beyond his years without coming across as precocious. He’s definitely an actor to watch, and Balagov’s casting of him represents his smartest move as a director on this film.
As with “Beanpole,“ Balagov displays an admirable ability to craft memorable screen images. Here, he peppers his frames with borderline absurdity, mostly whenever the pelican is on screen (thank God for her!) The use of animals is a classic tool filmmakers employ to inject their films with charm, though that doesn’t seem to have been the intention here. Instead, the pelican acts as a surprising oasis from the misery and dullness that surrounds it. There’s also the notable dual use of loud, flashing car alarms; they seem to represent the characters’ inner turbulence and are used in two scenes with extremely different contexts. It’s an effective, startling image in an otherwise visually uninspiring film. Curiously, the film’s best moment of levity unexpectedly occurs during a funeral scene, briefly inserting some welcome comedy into the utter tragedy.
Early in the film, when serving the snack that gives the film its title, Azik brags that he can “make a jam out of anything.” The double meaning of this statement becomes clear as the film unwinds, as the characters seem drawn to chaos and disaster, even when avoiding such strife would be easier for all involved. Unfortunately, the dramatics of “Butterfly Jam” are unwieldy rather than captivating, to the point of exhaustion. Balagov is a fearless filmmaker, unafraid of showing what many directors would avoid. And while that uncompromising spirit has served him well in the past, here it seems that some self-imposed guidelines would’ve spared him from crafting something so purposelessly unpleasant.
