‘Not a Love Story‘ is a feature-length film inspired by actual events. Alec and Chenoa are childhood sweethearts who are forced to grow up overnight because of a terrible tragedy that changes the trajectories of their lives irreversibly. Alec and Chenoa are twelve when they walk home after an incident with their group of friends led by Freddy, an eccentric and intimidating girl who’s always in the spotlight. The friends argue – when Chenoa tells Alec to stand up for himself, he unintentionally insults her. However, Alec’s uncle and his uncle’s friend interrupt their walk. They invite them into their car, and before Alec knows it, Chenoa is taken by his uncle. He runs home to tell his parents, and Alec’s father manages to bring her back.
Fast forward ten years, Alec returns to his hometown for the first time in years. He encounters Chenoa, who is now working at a strip club. They struggle to engage in a genuine conversation – plenty of unanswered questions, traumas, guilt and grief have overwhelmed them. Chenoa has a child now and has been seeing Freddy on and off. Alec contemplates whether to revive their spark from before the tragic day when his uncle assaulted Chenoa, but eventually, he realizes that now is the chance for him to redeem himself and be there for Chenoa. Their families are still feuding and urge for the young couple’s separation, but they are determined to swim against the current. However, things reach the point of no return when Freddy, driven by jealousy and despair, attacks Alec and kidnaps Chenoa’s child, ending in a tragedy that will turn Chenoa’s world apart.
‘Not a Love Story’ explores a plethora of themes, meanings and purposes. The complexity gives the film a rewatch value, as a lot has been hidden between the lines and in the subtext. Racism, misogyny, violence, coming-to-age, friendship, love, motherhood and death are the central themes that have been explored in depth. Writer and director Brian Lutes has created an artwork that will undoubtedly stand the test of time. What starts as a heavy-handed drama evolves into a romantic story with thriller elements that should keep the audience on edge, especially for the final showdown.
It doesn’t take long to develop an emotional relationship with the leading characters. Portrayed by Jennifer-Lynn Christie and Andy Courtemanche, the stars of the film leave a long-lasting impression. This is also a result of Lutes’s outstanding work with the cast – even the episodic roles ‘steal’ the momentum when they appear, and nothing seems out of place. In other words, everyone has been given the opportunity to take the spotlight and showcase their talents and skills. The world feels lively and inhabited as the story moves from Chenoa to Alec and their families. The multiple perspectives make the narrative immersive and engaging.
Moving forward, the film balances the interiors and exteriors, the days that turn to nights, and the weather conditions that result in dynamic sequences. Consequently, we can sense the passing of time, as well as the urgency with which some timelines are approached. In addition, the mise-en-scene is choreographed nicely. The mass scenes are indeed lively and energetic, and the filmmakers have no trouble complementing the close-ups with master shots that give us a better idea of the atmosphere and stylization. Moreover, the production design stands out alongside the editing – ‘Not a Love Story’ is a period film, and as such, it doesn’t arouse suspension of disbelief whatsoever. The cars, the props, the music and the costumes contribute to the overall genuineness. They showcase the filmmakers’ care and meticulous approach towards the film’s visual identity, as they don’t want to make mistakes even for the tiniest background details.
The emotional tones are conveyed without overloading the storytelling. Meaning, Brian Lutes knows when to insert moments of levity in between the tragic revelations. There’s also a sense of mystery that provokes the audience to figure out some stuff on their own. The film doesn’t intend to cover the prologue more extensively – it introduces an ellipsis after Alec’s uncle takes Chenoa. It does that again after Chenoa is brought back to safety. That said, ‘Not a Love Story’ demands attention from the audience – it’s in the confrontations, the cries for help and the quiet moments of contemplation that we’ll find the clues that will help us glue together the missing pieces of the puzzle. On the other hand, the running time feels challenging – with a little bit over two hours, the impression is that the film sometimes struggles to keep the momentum going. Some scenes could have been edited more dynamically to make them shorter and thus more impactful. As mentioned, the editing is indeed polished, but tailoring some expositional parts could’ve prompted the pivotal situations more effectively. The film rewards us for our dedication – the epilogue is gratifying, and while it answers some questions and dilemmas, it leaves others open for interpretation, especially regarding Alec’s fate.
Thus, despite that, ‘Not a Love Story’ elevates the independent cinema. It’s done by filmmakers who care for their audiences and don’t want to let them down. More importantly, they aim to raise awareness on a subject that hasn’t been represented in film and television the way it should be. In conclusion, ‘Not a Love Story’ is an unforgettable experience that would provoke debate among the viewers who embark on this journey with open hearts and minds.
