Rebecca’s Boyfriend

Directed by Craig Reynolds / Ireland / 2021 / 82 min

Synopsis

After cheating on his girlfriend, Cameron must face the fact that he’s not the good guy he thought he was.

He quickly equates himself with a form of toxic masculinity and is soon wondering if he’s a genetically “bad guy”, a trait passed from father to son. The film hinges on this discussion, at a point in our society when masculinity is under the microscope. How much is he responsible for his actions? Why would he cheat if he loves his girlfriend as he does?

Rebecca’s Boyfriend is set in a rapidly evolving Dublin, where tech companies and multi-conglomerate corporations are altering societal expectations and norms. Cameron dreams of a simpler time in Ireland, where his problems didn’t exist and where perhaps they spoke in Irish, he doesn’t really know. But if everything is changing around him, can Cameron be expected to remain the same too?
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Director Statement

Rebecca’s Boyfriend was a labour of love made over the course of two years for next to no money. My aim was to make a piece that was realist in tone but imaginative in scope, to mix the conversational style of the Mumblecore movement and the films of Hong Sang-Soo and Joanna Hogg, with the gentle comedy and thematic exploration seen in Ruben Ostlund’s work, like Force Majeure and The Square. I wanted a grounded reality but also space to play with ideas in a sometimes surreal way.

The French New Wave directors explored their city in the context of the post-war economic boom, similarly, the aim was to ask these questions in the context of a rapidly changing Dublin, where tech companies and multi-conglomerate corporations alter societal expectations and norms.
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Credits

Written, Directed and Produced by: Craig Austin Reynolds

Director Bio

Craig is an Irish director/writer with an obsession for stories about romance, the complexities of relationships, and themes revolving around toxic masculinity, modern love, and battling depression. His inspirations come form a variety of places including Joe Swanberg and Greta Gerwig’s work in the Mumblecore movement, the verbose and comic dialogue styles found in both Hong Sang Soo and Eric Rohmer’s films, and the deep affection of characters found in Joanna Hogg’s movies.

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