The next stage in the evolution of the quirky comedy genealogy, Paper Heart is a hybrid documentary/fantasy love story laid out by Charlyne Yi and her director and friend Nicholas Jasenovec as they travel across America and try to decide whether or not Charlyne is right to believe that love does not exist.

The documentary side of things is suitably haphazard, taking in a range of opinions from people as close as Charlyne’s friends and family and as far as a (metaphorically speaking) as an 80s style biker gang. The subject matter wavers between unique and interesting views on the matter, as espoused by hog-enamoured bikers, and inpidual justifications of the way things are.

The love story that intertwines with this narrative appears at a party when Charlyne is conveniently introduced to a loitering Michael Cera. His trademark awkwardness initially comes off as too professional and polished to gel with Charlyne’s own brand of shy embarrassment, even bordering on the mawkish. Nonetheless he becomes persistent in his pursuit of our lovely narrator, and soon they find themselves part of a burgeoning romance, and thus the documentary itself.

The endearing candour that comes with the frank approach to the subject, not least from Charlyne herself, makes the whole experience a little more heartfelt and personal. What could so easily have been a new angle on the whole post Juno revolution (Nick & Norah et al) grows into something a lot more interesting. Charlyne’s embarrassed approach to her subject matter, and (apparently) real emotional turmoil and becoming the centre of the project creates some moving moments and, more importantly, lends the whole hybrid affair a lot more credibility.

Before you begin to write this off as one of those schlock reality shows that they love so much in the states, the whole thing has more to it than the fine line between fantasy and reality that the narrative treads so daintily. Each of its seemingly random romantic parables offers a joyous little insight into inpidual experiences of love that pull you playfully from the primary plot into the abstract world in which this tale exists. The sensation is heightened by the kitschy lo-fi animations with which Yi supplements several of these, and ultimately it is these supposed side-streets of the film that remind us audience-members what the heart of the film is really about.

If you haven’t got the stomach for more saccharin indie treats, the innovations which this genuinely engages in will mean little to you. But if you (like me) can handle this prevalent cinematic trend then this is a welcome addition to and expansion of its corner in the great hall of filmic genres. As Michael Cera himself says at one point (I’m paraphrasing here) ‘That’s just what people need, another quirky comedy. There are never enough of those.’

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Get Shareaholic

By: Mike Edwards