While there have been divided reactions to his previous films, there’s very little doubt that Cooper Raiff is here to stay, representing the future of independent filmmaking. This isn’t some resounding praise (since it is understandable why he has been considering a polarizing figure), but rather an acknowledgement of the fact that he’s proven himself to be an audacious talent at a remarkably young age, and such ambition rarely goes unrewarded. He has a terrific future ahead of him, even if his work has been subjected to a lot of scrutiny amongst those that aren’t aligned with his very offbeat humour. His third film is Cha Cha Real Smooth, which follows S#!%house, which served as his breakthrough into the world of cinema after catching the attention of Jay Duplass (one of the most well-regarded stalwarts in contemporary independent filmmaking), in showcasing him as both a very promising actor and director, and somehow whose potential is absolutely staggering. Not everyone will agree on the merits of the film, but its difficult to not be thoroughly charmed by something here, whether it be the upbeat humour, the wonderful characterization or simply the self-awareness the director brings to the story that reflects a very deep sense of curiosity that allows him to oscillate between comedy and drama, there’s something valuable embedded in every frame of a film that may seem minor on the surface, but proves to be brimming with potential.

What is most notable about Raiff is that he is likely the first notable Generation Z filmmaker, depending on where one categorizes him. Born at the tail-end of the millennial era, he came into directing through coming of age at a time when the generations were shifting. His humour reflects this growing disparity between the groups, both in the specific kind of comedy he infuses into his films, and the particular details. Like many filmmakers that get their start earlier, Raiff’s films focus on the nature of growing up – the ambigious space between adolescence and adulthood is challenging for many of us, and his work reflects a very keen set of observations around what it is like to come of age in some truly tumultuous times – our generation has a much more distinct sense of humour, based on a slightly more nihilistic outlook which comes from an almost universally sardonic worldview. It leads to a film that is oddly enduring, even when it is at its most off-the-wall, which is primarily why it is so important for us to view Cha Cha Real Smooth as a film following in the footsteps of previous romantic comedies, but filtering it through a more modern lens. As a result, the approach is slightly less predictable, which is primarily why it has the potential to be polarizing – but granted someone is able to get onto the film’s wavelength and look at it as more than just a young director trying to make an edgy, irreverent comedy, and more a vivid snapshot of an era and the people who defined it, which can be quite remarkable when we notice how Raiff manages to make something valuable out of a generation brought up on a blend of awkwardness and existential dread.

Understandably, Cha Cha Real Smooth is not the kind of film that will be particularly beloved by some, since some of its ideas are quite questionable. Many have drawn correlations between this film and Mike Nichols’ The Graduate, insofar as they both focus on recent college graduates who fall deeply in love with older women, which serve to be commentaries on the role of maternal figures in the lives of many young people. However, while the previous film is a lot more jarring and cynical, Raiff chooses to approach this one in a more nuanced manner – it’s not particularly strong when it comes to exploring the actual romantic dynamic between the two in terms of the physical act of intimacy, but rather focuses on the emotional connection between two wayward souls, hopelessly trying to find their way through a world hostile to both of them. Cha Cha Real Smooth is much more than just a story of a young man who is far more mature than his age would suggest courting an older woman, but rather a deeply compassionate story of a friendship that is built when two people find common ground, which can sometimes be mistaken for something more serious. It’s a strange blend of satirical romantic comedy and melodrama (especially in the last act, which is almost bewilderingly serious in comparison to the rest of the film), and while it may not always be as daring as it would seem in theory, the film carries itself with a very unique kind of scathing humour that means a lot more when contrasted with slightly more serious ideas.

The coming-of-age narrative is one that is not in any way rare to the art of storytelling, but it is one that usually takes the form of being older individuals constructing tales around what they remember of being young – and whether these are acts of conjecture, or they are revisiting their own adolescence or early adulthood, its rare to find them being made by those who are young themselves, at least in relation to the story being told. Raiff is capitalizing on his youth in constructing this film, currently being in the same age group as the character he is playing, which adds a level of depth and authenticity to his performance. He’s the embodiment of charisma here, never failing to take an opportunity to showcase the talents he is supposedly so self-assured in possessing. Naturally, we can attribute this to the fact that he was directing himself, so it’s only logical that he’d give himself the best material – but when it comes to ambition, one has to fully commit to the performance, or risk being entirely forgotten, especially when you are not as established as an artist as some slightly older or more experienced individuals that normally find themselves getting these roles. As both an actor and a director, Raiff is showing considerable promise, and while he is undeniably still a diamond in the rough, he carries himself with a cocksure confidence that can be misinterpreted as arrogance – but when you have this amount of raw talent, and the audacity to actually commit it to screen, it’s difficult to not feel entirely invested in the story, which is part of why Cha Cha Real Smooth is such a resounding success, his performance being a highlight of the year so far.

However much as we tend to view Raiff as having given himself all the good material, we simply can’t neglect Dakota Johnson, whose performance is just as good. Having spent the past few years developing her craft as an actor, Johnson continues to prove herself to be one of our great talents, and someone whose constant dedication to choosing interesting roles is finally showing strong results. Perhaps slightly young to be playing this role (with the film’s constant efforts to justify her youthfulness being slightly excessive), she was integral to the film, both on a literal level, as she was involved in funding it, and in terms of the story. She is not one to demonstrate excess as a performer, and instead chooses a more subtle, grounded approach that feels very much the product of someone who genuinely adores her chosen vocation, especially since it leads her to play roles that may not seem complex at a cursory glance, but still have a sense of intrigue that keeps them afloat. Perhaps she doesn’t quite fit into the character as intended, with the riff on Mrs Robinson being somewhat heavy-handed, but Johnson still commits entirely to the role, finding the nuance and genuinely interesting content in a character that is somewhat more opaque, but is elevated by her wonderful work. It helps that she always has impeccable chemistry with her fellow actors, and she plays off Raiff exceptionally well, which is integral to this film’s steadfast exploration of young, hopelessly lost young men and the maternal figures that help guide them from adolescence to adulthood.

Cha Cha Real Smooth is a film that is certainly rough around the edges, but in a way that is meaningful and interesting, rather than being a work of an amateur. What the film lacks in polish it makes up for in sheer ambition, and we frequently find ourselves engaged with this story in a way that feels so unique. / a film of considerable depth and an even more endearing sense of complexity that undercuts the exuberant humour that pulsates throughout the film. There’s a strong emotional anchor that governs the film and makes it such an endearing, complex work that feels well-constructed and meaningful, while still being bitingly funny and radically entertaining. This film has a lot of heart, and it importantly knows what to do with it, which is an increasingly rare phenomenon for this kind of film, and something that many tend to underestimate when it comes to these kinds of stories. Raiff may still be young, but he’s got enough promise to fuel a very strong career, and with the right amount of momentum, we may be looking at one of our next great filmmakers, one that has a strong blend of insight into the human condition and awareness of the nature of reality, as well as the eccentric sense of humour and good-natured optimism, that signals the start of a very promising and hopefully brilliant career – and if he’s producing works of this calibre so early on, its not difficult to anticipate his next project.