Rating: R | Runtime: 102 minutes
Release Date: July 20th, 2007 (USA) / May 9th, 2008 (UK)
Studio: The Works UK Distribution / Vivafilm / Magnolia Pictures
Director(s): Sean Ellis
Writer(s): Sean Ellis / Sean Ellis (short film)

The two meanings of ‘crush.’

Upon seeing the much talked about 2004 short Cashback a couple years ago, I was utterly blown away. So, I quickly checked to see what was next on Sean Ellis’ slate. To my surprise, it was a feature length version of that brilliant short. I didn’t know what to think. How could he hope to enhance what worked so well in 25 minutes? How could he risk ruining the beauty and magic of what he’d already accomplished?

Once I saw the feature was coming as part of Mark Cuban’s HDMovies / DVD / Theater deal, I knew I would have to see for myself. And to my shock, he not only kept the stunning visual flair and emotive compositions to freeze beauty and time, but he also made it even better. The feature Cashback is a pure work of art to be viewed with a gallery mentality. It’s not a movie to be taken lightly, but a piece of art to behold with wonder and thought. A journey through the meaning of love and the beauty of everything around us.

The story involves an art student named Ben who just experienced a bad break-up with his first real girlfriend. The thoughts running through his head stemming from the void this departure has left cause him to become an insomniac. Unable to deal with the extras hours of torture that have him stewing in lost memories, he takes a job working the night shift at a local supermarket. Why not earn cash for his extra time?

While his co-workers deal with the monotony of eight hours by avoiding the clock, fooling around, or messing with the customers (hilarious games like “helping the ladies” with fantastic payoffs), Ben finds that he can get through the sluggish pace by stopping it altogether. He freezes time and space so he can look at reality’s majesty. These unforgettable still life constructs of life itself are there if one takes the effort to find them. And being that the female form has always been an inspiration of beauty, he starts using women customers (in suspended animation) as models to hone his drawing and painting skills.

Amidst it all, he and his co-workers take a journey together in life and its cyclical nature of run-ins with coincidence and fate. And only when Ben falls for his friend Sharon does his world open back up to show him what it truly is be alive.

The plot is simple yet deep in scope. Rather than express these many ideas through the words of the characters, Ellis chooses to give us a mostly silent film so that the visuals become the real impetus propelling things forward. Enhanced by voiceover, the audience can bask in every mesmerizing moment put to film. Between his wonderful transitions from the present to childhood recollections seamlessly panning from timeframe to timeframe, the living paintings Ben walks through and the breathtaking slow-motion sequences, you will be transfixed.

Ellis’ use of light and glares on the women he allows to fill the frame is amazing and almost every single second could be paused and put on display as a photographic gallery piece. The mise-en-scène is astounding. From the fearless framing of empty space while the focal point stands in the corner to the use of the scene’s environment to create space, Ellis and cinematographer Angus Hudson are geniuses. I keep thinking of the moment Ben is drawing Sharon at the checkout line with 95% of the frame filled with the white of the back of his sketch pad so only the tiny triangle of space in the top left corner reveals his face.

The aesthetics are beyond reproach. Cashback is as visually stunning a film as I’ve ever seen and only more impressive coming from a first-time director. With all that said, though, the movie definitely won’t be for everyone. For example: prudes should probably stay away. While almost all of its nudity is tastefully done and likened to a gallery setting, its prevalence might still make some uncomfortable. The female form is never exploited to titillate, though. It’s a stand-in for the beauty people take for granted. Ellis had a vision and nails it completely.

The acting is great too—especially leads Sean Biggerstaff as Ben and Emilia Fox as Sharon. Their silent moments allowing their faces to emote their feelings for each other only enhance the story rather than slow it down. And the supporting players all add wonderful moments of levity to help keep the tone from getting too dramatic. Again, though, these characters are only vessels led around to show us love in the air so their actions can speak louder than words ever could.

I don’t know whether Ellis reshot the moments that appear identical to his short or just used the original footage, but the whole retains that same aesthetic and feel. Those minutes are used almost completely during the first hour, which is surprising since the last act plays so cohesively with the start. The final scene at the gallery and outside is just plain gorgeous and serves as a fitting conclusion to a masterpiece of style.

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Emilia Fox and Sean Biggerstaff in CASHBACK, a Magnolia Pictures release. Photo courtesy of Magnolia Pictures.