Somewhere in the heart of the Canadian independent film industry is a small, renegade group of filmmakers who have regularly collaborated in various ways to help define the current generation of intimate arthouse cinema in a country that has always been known for a very precise style of storytelling. This coterie of writers, directors and actors has been steadily working to create films that may not be widely seen (especially outside of their native country), but which are some of the most refreshing, earnest and captivating works produced in the last decade. Kazik Radwanski is one of the guiding forces behind this movement, having directed a small handful of films, each one of them intriguing and compelling all on their own. His most recent effort is Anne at 13,000 Ft, which tells the story of an anxious young woman doing her best to fit into a society that doesn’t quite understand her, feeling more at home while soaring towards the earth after developing an interest in the controlled chaos of skydiving. A fascinating character study that blends tender comedy with warmhearted drama, Anne at 13,000 Ft. is a peculiar glimpse into the mind of a character that will more than likely be relatable to many viewers, and while it may be small in size, it has a wealth of compelling details that make it an extraordinarily poignant, insightful explorations of modern life, told with razor-sharp wit and a seemingly endless amount of empathy for the generation represented by the main character, who is one of the more endearing protagonists of recent years, and a strong example of the kind of challenging social satire that addresses deep issues without being overwrought or massively sentimental, which makes a considerable difference in what is a very simple but evocative film.

Contrary to popular belief, being young is not necessarily easy, especially for the current generation that is in their early adult years. The conflict between generations has rarely been more potent than it is today, and Anne at 13,000 Ft. aims to be a vivid exploration of the experiences of one young woman who has been thrown into a world she does not quite understand, forced to be around people who fail to grasp her idiosyncracies (particularly those who are older than her), and told that to be successful, one has to adhere to a certain set of preconceived standards, which are ridiculous and limiting, especially for those who are not comfortable with the status quo. The titular character is someone who has never fit in, nor has she ever made any effort to do so, going against the idea that one has to endure awkwardness and discomfort just to earn social credibility. It isn’t the most complete depiction of the millennial generation (nor does it strive to be – Anne may represent a large group of people, but she’s not the most thorough embodiment of those born at a particular moment in time), but it is oddly provocative in a way that is often easy to mistake for cynicism. Radwanski is not someone necessarily against the idea of complex depictions of unconventional protagonists, and while Anne is not a particularly unlikable person, there is a roughness to how he looks at her life, whether her daily activities which often get her into precarious situations or her struggles with anxiety, which is viewed objectively (rather than being a source of sympathy) – and this jagged edge that persists throughout Anne at 13,000 Ft. is actually surprisingly complex in a way that feels earned, rather than just existing for the sake of challenging the comfort of the viewer, which is an easy mistake to make when we realize the bleak realities that inform a lot of the film’s events.

The titular role of Anne in this film is played by Deragh Campbell, who has proven herself to be an exceptional mainstay of Canadian independent cinema, flourishing into one of the brightest stars to work under the guidance of several visionary arthouse directors, who have taken note of her immense talents, casting her in a range of roles that showcase many different sides of her personality – and considering how she has collaborated with Radwanski on numerous occasions, its clear that her performance here is borne from a very strong working relationship between her and the director, who writes her a thrilling and captivating role that are worthy of her very clear talents. Despite the relatively simple and minimalistic approach, her performance in Anne at 13,000 Ft. is a tour de force, much of the story orbiting around her ability to take this character on a journey that is both riveting and thoroughly convincing. Anne may not be a particularly remarkable character, and there is nothing about her that is necessarily all that compelling, but her journey is one that undoubtedly has a lot of complexity to it, and Campbell’s spirited performance reflects many of the more intimate psychological moments that persist throughout the film. No one else in the cast makes much of an impression, but this is entirely by design – Anne is isolated in her world, to the point where the presence of anyone else is more of a socially mandated obstacle than something she particularly enjoys. It’s a quiet but impactful performance from a truly gifted young actor who is already proving herself to be a formidable force in the small corner of the industry that she has quietly been commanding for the past few years, and which will hopefully lead to continued successes in several equally riveting works of complex art.

Anne at 13,000 Ft. borrows quite liberally from the school of kitchen-sink realism, where filmmakers told stories that were compact and intimate, while still being extraordinarily riveting in how they address certain issues. This is not a film that needs to offer the most excessive emotions, since it has a strong enough story to justify a more straightforward approach. Independent cinema has always thrived the best when it is at its most simple, and while some may look at this film and perceive it as being slow or laborious (especially since it maintains a very simple tone, and never resorts to inauthentic emotions for the sake of dramatic effect), there’s a nuance in how the director approaches this material, and the more subdued tone creates a sedate but fascinating atmosphere from which Radwanski can draw a lot of complex social commentary, alongside the psychological exploration we see filtered through the main character, whose journey we gradually come to be thoroughly invested in. This is a film that builds on the premise of being a few days in the life of a young woman who is trying to navigate her way through a hostile world, doing her best to maintain her sanity in a job she clearly despises, attempting to find a partner in the form of a stream of middle-aged men who are even more self-deprecating, and essentially racing against time to find her niche before it is too late. This is a film that takes place in a version of society in which everyone needs to have their lives figured out from the moment they enter adulthood – and Anne at 13,000 Ft. dares to suggest that some people only find their place much later on in life, with some remaining in a state of existential limbo for many years, undergoing a process of self-discovery, which can be peculiar for outsiders. There are many layers to this film, but it never feels like it is compressing too many ideas into a relatively short amount of time, each crisis faced by the main character either being resolved, or given the conclusion it needed to make for an ambiguous but meaningful ending.

At its core, Anne at 13,000 Ft.  is a quintessential work of minimalistic independent filmmaking, the kind of project that is rooted less in telling a specific story, and more in capturing the most raw but meaningful emotions that are associated with what appears to be an extremely simple story on the surface, but has a profound depth that is difficult to understate. This is a film all about the individual journeys we all undertake to find our best possible future, and the various obstacles we need to overcome to get there. However, rather than being in favour of social convention (which it views as outdated and very narrow-minded), Anne at 13,000 Ft. is a resounding manifesto that centres squarely on the idea of celebrating individuality, regardless of whether or not the form it takes is aligned with social values. It does arguably take the more difficult route, choosing to go in pursuit of a deeper, more profound examination of the human condition – and while it may be quite uncomfortable at times, it is worth following this journey, since it contains many profound revelations that are far more compelling than a more upbeat approach may have allowed. There’s a delicate nuance to Anne at 13,000 Ft. that would be difficult to mimic, proving how every moment of this small but poignant film is drawn from a place of genuine interest in looking at a protagonist who does not fit into any preconceived category, but who rather gleefully embraces herself on her terms, developing her identity in a way that feels natural. It makes for a brilliant and captivating experience that proves how some of the most affecting stories are lurking just out of view, and that independent cinema continues to capture the spirit of humanity in a way that mainstream films regularly struggle to grasp, showcasing the immense talents that populate the arthouse industry, and the vivid voices that endeavour to tell such meaningful stories.