Akhavan doesn’t stop the connections as she starred in this past season of Dunham’s show. As such, these similarities kill some of Akhavan’s originality. But this doesn’t completely distract from how breezy and enjoyably relaxed a film this up-and-coming triple threat made.
Shirin (Akhavan), upon ending her relationship with Maxine (Rebecca Henderson), is in an emotional rut. She struggles to find work, relationship satisfaction and her Persian family’s acceptance or knowledge of her bisexual lifestyle. In Brooklyn, she recollects her failed relationship as she goes down a road of sorrow and liquor, and slowly begins to find herself again. This is all while she tries to teach five-year-olds how to be filmmakers.
Based on Appropriate Behavior alone, it appears Akhavan establishes herself best as a writer. Her screenplay displays not so much maturity but a rich and naturally funny understanding of herself and other Brooklynites around her. Her sarcasm-laced, fearless voice as a homosexual Iranian gives rich commentary on a personality not often seen in film. Though she still needs to figure out how to layer her story, especially as this movie tries to balance different time periods at once. But she is ferocious in ways she needs to be, and daring in a manner that’s exciting and very droll. Although, as a comedian, Akhavan has an odd mix of humor both dry and very on the nose/sitcom-esque that sometimes comes across as disjointed.
As an actor, Akhavan still seems a bit stiff, which makes her character not as effortlessly engaging as she wishes her to be. Although, it’s unclear where exactly Shirin begins and Akhavan’s own personality ends, as Appropriate Behavior seems like Tiny Furniture to be a very personal mediation. She knows how to dish out trash talk perfectly fine, and can give some subdued drama when the story needs to explore our protagonist’s personal feelings. But when she works alongside other actors, this actress still seems a little uncomfortable balancing the comedic weight. Perhaps her other duties overtake her focus.
Additionally, as a director, Akhavan lacks the style of Dunham. Her visual sense often relies on medium shots, which plays well for the actors but doesn’t give a lot of variety. This doesn’t discredit Christopher Teague’s work, however, as the D.P. provides some lovely shots throughout. He also worked on Obvious Child, though—a film from last year that shares more than a few similarities to Abhavan’s movie.
For some of its intentionally flat supporting characters and mismatched bouncing of plot timelines, Appropriate Behavior is so often saved from its great sense of humor. Be it awkward threesomes, discarded dildos or spilled wine, Abhavan has a raw and fresh voice which combines her love of raunchy comedy to make something that feels far more authentic and engaging than your average R-rated comedy today.
Through thick-and-think, the filmmaker’s honest voice is never forgotten, and gives the movie a pulse and a heart. Although it’s hard to believe comparisons to Abhavan and other filmmakers/films likely won’t stop, if Appropriate Behavior is a sign of things to come, this writer/director/star has a voice of her own to shine.
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