In the early moments of “Fantasy Life,” written and directed by Matthew Shear, Sam (played by Shear himself, in a feature debut) is told he is being let go from his job at a law office. While trying to process the news, he goes to a bookstore and a panic attack overtakes him, causing him to faint and leaving a noticeable mark on his forehead (he can’t seem to keep his story straight regarding what caused the cut).
Given what Sam is experiencing, it’s time to visit to his therapist, Fred (Judd Hirsch), who helps him unpack the unattended issues that may be causing his anxiety and panic attacks. On the way out of the office, Fred’s wife and receptionist, Helen (Andrea Martin), notices Sam is in a bit of a state. She blurts out the question, “Do you babysit?” in the hopes he could become the caretaker of her three grandchildren, the daughters of their son David.
Sam needs work, and he carries himself with such timidity that whether or not he was interested in the job, he doesn’t seem like someone who can say ‘no’ with confidence. He awkwardly makes his way to the home of David (Alessandro Nivola), where he is on his way out the door to a music gig and his wife, Dianne (Amanda Peet), is currently away.
“Fantasy Life” is structured in four chapters based on the seasons and is observant of Sam’s mismatched job opportunity. David travels as a musician, which allows Sam and Dianne time to get to know each other a bit better. There’s a sense both have been longing to be truly seen by another person and they find that with each other.
The movie is amiable without ever being surprising. Its brisk 90-minute runtime keeps things moving at a snappy pace (the seasonal structure can feel a little haphazardly edited together, breaking the flow in between), but the plot never takes any unsuspected leaps.
“Fantasy Life” plays like a parade of character actors, which feels apt for a rom-com based in New York City: Bob Balaban, Holland Taylor, Jessica Harper and Zosia Mamet all pop up for a scene or two throughout the movie. The film is a good-natured slice of indie filmmaking, and the limited screentime of known actors illustrates that everyone was happy to show up and have a good time.
While the movie is built as an ensemble piece, “Fantasy Life” ultimately plays like a vehicle for Peet to shine. Peet is a charming and gifted actress who seemed ubiquitous in the 1990s and early-to-mid aughts, but in recent years has been bouncing from TV shows to supporting roles. It seems like Dianne is a role Peet has been waiting for: an actress of a certain age who hasn’t worked in some time, crippled with the thoughts of leaving her acting days behind her due to her age. Peet’s performance is infused with authenticity and a lived-in experience. almost as though she’s reaching out to Dianne to say everything will be OK.
Shear demonstrates a light touch, never trying to shoehorn any fancy techniques to make a mark as a first-time filmmaker. The movie is about its characters and his chemistry with Peet’s Dianne demonstrates the care put into writing these roles. “Fantasy Life” can feel slight and forgettable at points, but sometimes an easy watch is what the moviegoers need.
Matthew Passantino is a freelance film critic and a member of the Critics Choice Association and the Greater Western New York Film Critics Association.
