Juliette Lewis Becomes a Chair in This Bizarre Comedy That Will Leave You Questioning Reality!

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In By Design, understanding isn’t its primary goal. Instead, it establishes a unique, dreamlike logic where people and designer furniture blur together. Here, privilege is seen as an aesthetic, and isolation is the cost of desirability. This film seamlessly blends dark humor with a satirical nightmare, using an outlandish premise – a woman transforming into a chair – to expand on a sharp critique of consumerism, performance, and the superficiality of relationships in a society dominated by wealth and appearance.

If “By Design” resembles a film by Amanda Kramer, that’s because it does – the movie is steeped in her distinctive flair for drama, exaggerated acting, and the captivating, neon-infused noir aesthetic that transforms it into something more akin to performance art than conventional narrative cinema. Kramer’s work has consistently revolved around the blurred lines of artifice, identity, and performance, as evident in “Give Me Pity!”, where a single-woman televised variety special evolves into a surreal examination of ego and self-destruction, or “Please Baby Please”, an intensely stylized, gender-bending investigation into sexuality and societal expectations set against the backdrop of 1950s gang violence.

She has a knack for incorporating old-school aesthetics, ranging from classic TV shows, pulpy novels, or dramatic stage productions, into her commentary on modern worries. She deliberately pushes genre conventions to the brink of ridiculousness. However, beneath the stylish exterior of all her creations lies a penetrating and merciless critique. Her films may occasionally reiterate their themes excessively, but they are steadfast in exploring the central query: What does it mean to crave something, and what occurs when we transform into the objects of our longing?

Capitalism, Objectification, and the Pleasure of Being Sat On

The movie opens with credits reminiscent of an antique JCPenney catalog, placing us in a realm where human significance wanes as rapidly as fashion trends. We’re introduced to Camille (Juliette Lewis), a woman whose standing among her affluent companions has grown tenuous. Intriguingly, when she enigmatically trades places with a chair, her acquaintances, instead of showing alarm, respond with an unsettling, dispassionate interest. What kind of chair is it? Could it be put up for sale? Who would even consider buying such a unique piece?

Via Camille’s metamorphosis, Design in its essence exemplifies the objectification of women, especially mature actresses in Hollywood, who frequently get overshadowed by their younger counterparts perceived as more attractive. Kramer doesn’t merely challenge this stereotype but pushes it to its limits, questioning what transpires when a woman is reduced to mere furniture, an item for seating, appreciation, or complete disregard. This theme is also reflected in the film’s selection of ’80s and ’90s Hollywood actresses — Lewis, Melanie Griffith, Samantha Mathis, Robin Tunney — once emblems of youth and allure, now portraying characters that recede into the periphery, much like pieces of decor in a beautifully arranged room.

Olivier (Mamoudou Athie), a musician, grows more and more attached to his chair replica of Camille, taking it along everywhere he goes. He regards this item as both a cherished possession and an unusual friend. His dedication is portrayed for both comedic effect and unease, emphasizing the absurdity of attachment in today’s world where everything—people, items, connections—can be discarded and replaced easily.

The System of Objects: Eroticism & Alienation

In the novel “By Design“, desire isn’t portrayed as an emotion, but as an action. A circle of young professionals, engaged in a discussion about relationships, react indifferently to each statement with a casual “Who cares?” – a stark representation of their privilege at its core. To care is to expose oneself to potential harm, and in this society, showing vulnerability is outdated.

The movie explores the borderline between alluring and disquieting eroticism by depicting scenes that switch from sensual to uncomfortably unsettling. Quick cuts comparing Camille (portrayed as a woman and as furniture) reenacting intimate moments challenge the distinction between reality and imagination. The delight in being desired, whether it’s just for a chair, remains pleasure. This theme is most vividly illustrated in a side scene where a woman’s clothes are tossed from her apartment while passersby watch like spectators at a performance, seemingly enjoying her emotional turmoil as if it were an art piece.

Kramer’s visual style takes inspiration from the polished, mechanistic atmosphere of ’80s corporate noir movies such as ‘American Gigolo’ and ‘Dressed to Kill’. In these films, opulence and isolation are intertwined. The glossy camera work and surreal lighting create an environment where every scene seems to unfold in a hyper-real, emotionally distant space. This visual style strengthens the film’s message that wealth is more about style than substance.

A Commentary on Middle-Aged Women in Hollywood, or Just an Elaborate Joke?

One of the subtle yet powerful themes running through “By Design” is its critique of Hollywood’s portrayal of middle-aged women. Initially, Camille, before her transformation into a chair, is essentially forgotten by her peers, just another face in the crowd at social events. The film cleverly explores this concept, suggesting that women of a certain age can easily be overlooked in our society, much like pieces of furniture that are only noticed when they’re needed.

However, one might question whether the film required an entire feature-length runtime to drive home this point. Whether you find Kramer’s work persuasive on this matter hinges on your personal perspective.

Kramer’s unique theatrical approach frequently functions as a continuous play, where scenes reoccur and themes are emphasized, rather than the movie leading to a clear conclusion. This structure may captivate some viewers, but others might perceive it as the film repeating the same concept repeatedly.

Fundamentally, “By Design” adds another voice to the ongoing cinematic dialogue about how capitalism fosters loneliness. The character Camille, who has been dehumanized, experiences care in ways she never did as a person. On the other hand, Olivier, a man disconnected from his affluent peers, finds comfort in a chair. Even the film’s resolution – where the group unites to “comprehend” the chair – seems more like another form of consumerist detachment rather than an act of genuine empathy. They seek to own understanding, not genuinely interact with it.

A Film That Pushes Its Own Limits

This movie, titled “By Design“, isn’t for everyone. Its satire is biting, but its pace and repetition might annoy those expecting a more traditional storyline. Kramer’s unique, dramatic, and deliberately harsh style makes viewers uncomfortable instead of providing an easy emotional release. Yet, the film’s unyielding embrace of its own absurdity is undeniably captivating.

In today’s media environment, where debates on wealth, privilege, and consumerism often appear sanitized or self-congratulatory, “By Design” confronts these issues head-on by embracing its contradictions. It recognizes that criticism alone is not enough; sometimes, you need to fully embody the thing you are satirizing.

In its finest moments, “By Design” encapsulates the sensation of living in a realm where everything, including solitude rebranded as exclusivity, has a price tag. The yearning for validation – to be coveted, even if it’s just to serve as a seat – somehow remains a form of human bonding. And isn’t that what we’re all seeking, in the end? Regardless of whether, like Camille, we must transform ourselves into objects to attain it.

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2025-02-06 02:02