Every generation needs their own Rupert Pupkin.
Ingrid Thorburn (Aubrey Plaza) is a mentally unstable girl who, after a recent stint in a clinic, finally gets out into the real world, only to then fall back into the same spell of obsession that she did before. This time, the object of her affection is social-media influencer Taylor Sloane (Elizabeth Olsen). Her Instagram account is highly-followed, full of bright, shiny pictures, and full of all sorts of daily inspiration that Ingrid seems to need and want. To make it even better, Taylor responds to one of Ingrid’s comments, giving her the idea that it’s time to head out to L.A. and find out if Taylor will be her friend. And with an inheritance of over $600,000, she’s willing to make that dream a reality. The only issue is that Ingrid will have to make something of a persona up, to where she will be seen and accepted by Taylor as a friend, possibly even best-friend – a title that Ingrid has wanted from someone over the course of her life, not just one person in particular.
Who hasn’t done this? It’s so sweet…..I think.
Ingrid Goes West is an interesting movie because it doesn’t necessarily seem to be commenting on social-media, as a whole. It would have been easy for it to fall down the same rabbit-hole of many other countless shows and movies, where the idea of social-media is a harmful, awful place where nothing in this world is private and everyone’s soul can be seen with just a click of a button or two. Is that such an evil thing? Maybe. But what Ingrid Goes West shows us is that it’s honestly how one uses social-media, is what makes it such an evil and despicable platform in the first place.
That said, as goofy and as crazy Ingrid Goes West gets, it still feels firmly placed in reality, where these archetypal characters all feel real, honest, and humane, even if they are awful pieces of crap. Take, for instance, Taylor Sloane herself – she’s the typical valley girl who has a solid Instagram account, with pictures of the sun, pretty trees, houses, her brunch, oh and of course, Joan Diddion books. She seems harmless and actually, pretty nice, but what the movie shows us is that there’s more to her than usual, in both good ways and bad. She’s the kind of woman who seems sincere on the surface, but beneath the surface, she’s just as arrogant and as insecure as all of her followers may be, and therefore, in a way, isn’t she manipulating these kinds of feelings for her own betterment?
Ingrid Goes West asks this question, as well as many others, but it works so well is because it all feels so honest and real.
Not once does co-writer/director Matt Spicer seem like he’s not with the times, or doesn’t know what he’s satirizing. Sure, by the time the movie reaches the third-act, thing spiral pretty much out of control and the movie gets a little bit weaker, but even then, it still feels like Spicer is fully wrapped-up in this awfully twisted, sick kind of world where B-level artists, photographers, and performers all hang around one another, act like they’re having a great time, loving each other all, when in reality, they’re just as conceited as the other. So yeah, if there is anything that Spicer is poking fun at here, it’s not social-media, but those who use it to make themselves seem way more talented and much more spiritually woke and inclined than they actually are.
All Gen-Y hipsters love themselves some Joan Diddion. Or so they say.
But still, as much preaching as Spicer may seem to be doing, the movie itself is still funny and a little sad. Once again, that idea of reality shines through each and every scene to where we go from laughing at one of Ingrid’s ridiculous antics and how deep she sinks herself into this lie, but then we come to the realization that it seems all too real. There are many more Ingrid’s out there in the world, and they don’t just have to be beautiful and compelling.
They can just be as depressing as you’d expect someone who falls in love with a social-media personality to be.
That said, Ingrid is probably Aubrey Plaza’s best performance to-date, because she kind of bucks the typical performance we’re used to seeing from her. No matter what, Plaza’s always enjoyable to watch, but she always seems to be playing the same bit role, where she’s always dead-pan, odd, and off-kilter. Here, she digs into something more primal and creepier, making Ingrid a damaged and battered human being that we sympathize with, but also fear for, too. She’s a dangerous beauty, but also a sad one, at that, and it’s Plaza’s role for the taking.
Elisabeth Olsen is also pretty great in a role that, in other hands, in another movie, probably would have been awfully one-note. While we know from the very start that Taylor Sloane is absolutely full of her pretentious bulls**t, it also doesn’t forget to make us see her as humane who, just like you or I, may be wanting something a bit more than she already has. We never come to like her, but she’s still compelling, in that there are literally a million other Instagram profiles just like her, getting away with all the same junk as she does.
What a time to be alive.
Consensus: As weird as it is timely, Ingrid Goes West is an honestly brutal and raw attack on those who use social-media to their benefits, for better and for worse, while also not forgetting to be a funny, incredibly well-acted tragicomedy.
8 / 10
Photos Courtesy of: Neon