Film Review: The Freebie

Writer/director/actor Katie Aselton and Dax Shepard explore monogamy and sexual experimentation in "The Freebie"

Despite the outward appearance of a lightweight, romantic comedy, writer/director Katie Aselton’s directorial debut The Freebie is an intimate and assured exploration of monogamy and the fragility that sexual exploration can expose in one’s relationship. The story follows a week in the life of Annie (Aselton) and Darren (Dax Shepard), a happy, healthily communicating LA couple who enjoy their comfortable Fresh and Easy existence amongst other hipsters. The opening itself is a montage of playful activity and kissing that is so sweet it suggests a clothing commercial. It is made abundantly clear that these two people are soul mates, best friends, and partners in every other way imaginable. However, we soon discover at least one chink in their armor. After one particular dinner party, in which a mutual friend discusses her recent breakup, Katie and Darren mull over their recent sexual drought and consider the possibility of a ‘freebie’.

Theorizing that perhaps a one-night only free pass will enliven their lagging sexual appetites, husband and wife rationally and calmly discuss the benefits and possible pitfalls of such an arrangement. The beauty of Aselton’s direction and editing is to then shape the rest of the storyline around this discussion, as events unfold they are cut against this seemingly innocent pillow talk to provide counterpoint. After deciding to execute this plan, both spouses scout out potential partners with Darren targeting a neighborhood coffee barista and Katie settling with a handsome bar patron, and after some hesitation finally go through with the dirty deed simultaneously one night.

Or do they? The film leaves an intentional ambiguity as to what actually transpires that fateful night. All we observe for sure is Darren waiting up for Katie to arrive home, early in the morning as she walks home with smudged make-up and an alluring dress. The actual encounters we see can be interpreted as either actual events or fantasies within their own minds as they envision what could happen to themselves individually.

Suffice it to say, the frivolity they expected to generate by this night of sexual experimentation turns instead into silence and toxic suspicion. Coming in at a mere seventy-seven minutes, The Freebie is a concise mix of light comedy and intense relationship drama as the consequences of Darren and Annie’s well-intentioned foray into an opened relationship expose the monotony that has corroded their marriage. While we always know that they love each other, the seven years of sustained domesticity has sapped all passion from their relationship rendering them little more than incredibly good friends. If anything, Aselton demonstrates the importance of balancing the comfort and security of monogamy with the necessary passion required to keep a relationship fresh and energetic.

Anchoring the film though are Shepard’s and Aselton’s fantastic performances; it is fair to say neither one has done better dramatic work on-screen than here. Shepard, best known for his comedic roles, turns in an intelligent and nuanced performance as Darren; while projecting Darren’s compassion, thoughtfulness, and logic, Shepard is able to gradually shed those decent traits to expose the deeper insecurities and desires of a man who, in an attempt to shun his baser instincts, embraces his darker impulses as a consequence of the experiment. Shepard’s long, blonde locks and puppy dog eyes are perfectly suited to the sensitive, wimpy guy Darren is but thankfully the actor can also summon disgust and outright rage that is uncomfortable to watch as it is real.

Balancing out his efforts though is Aselton’s transcendent work within the shell of Annie. Naturally beautiful and able to convey her sexuality with comfort rather than bludgeoning force, Annie is a sexual being who has nearly forgotten how to be one. Like Darren, she prides herself on their seemingly unshakable bond and open communication but fails to recognize the complacency they allowed themselves to fall into overtime. Only when the freebie itself is discussed does she realize her own sexual dissatisfaction. When emotions turn south though, Annie’s inner spark and light is dimmed by doubt and shame, compounded by Darren’s suspicions and boiling rage.

Whether laughing or broken down into inchoate tears, Aselton’s emotions are transparent to the audience’s gaze and she holds back nothing. It is a performance that, based on skill alone, should be considered award worthy and one can only hope producers with more money and power give her even more impressive opportunities to shine. In the end, the cross-cutting of events provides a prism through which to examine this otherwise solid, beautiful relationship as those involved must finally communicate with their emotions and not their minds.

To learn more about this film, go to www.untie-theknot.com and www.phase4films.com