A disparate group of addicts find common ground as they explore their inner demons during a therapy session, in Iain Cash’s drama, The Circle.
There are many group therapy scenes used in films and they all serve as a powerful storytelling device that offers deep character revelations, conflict resolution, and an emotional release. When done well, these scenes can expose the truth, challenge societal norms, and even provide comic relief. Director Iain Cash manages to give us all of these things in just 12 minutes of screen time with his enjoyable drama The Circle, created from a well-written script by Michael Farrell. Martin Green plays Jay a former addict turned therapist who after 12 months of sobriety leads the circle sessions for other addicts, Nathan Wedge is Gary the constant bane of Jay’s meeting, while Valerie Bundy as shy Celia, and Victoria Latham Kelly as a headstrong Helen round out the small but talented cast.
As director Cash employs a variety of techniques to bring The Circle to life, using camera work, framing, editing, and performance to make his short resonate with audiences. One of these is the way he frames the characters in tight close-ups and uses reaction shots to heighten the emotions of the group to emphasize their personalities. Using over-the-shoulder shots and medium close-ups, Cash allows viewers to watch the status change between Jay as the pompous leader and Gary as the wise-cracking anarchist. The camera movement is used to mirror the shifting power and hidden tensions within the group, especially when Celia and Helen begin to gain confidence and find their voices. Within all this Cash manages to capture the natural flow of conversations, making interactions feel more real and immersive leading to a sense of acceptance and personal growth. The smart remarks from Gary also enable him to regularly disrupt the pecking order and symbolize his rebellion against the system.
The Circle is full of well-crafted dialogue written by Michael Farrell that feels organic but doesn’t quite push the narrative forward quickly or interestingly enough. While it does reveal backstory and exposes character vulnerabilities there is not enough escalating of the conflict during the short meaning the emotional punches don’t hit as hard as they could or should.
The strong performances of the cast are essential to the effectiveness of group therapy scenes. Gary is disruptive in his interactions with the others which gives us a few laughs. Celia’s, turtle neck sweater keeps her hidden and reminds us of one of the Bash Street Kids. In contrast, Helen’s ability to snap back and point out hypocrisy is a breath of fresh air. However, it is Jay whose ability to be both condescending and supportive at the same time that is the film’s biggest gift. Martin Green’s pompous performance as Jay is a standout and his lack of self-awareness permeates the film with moments of great humour.
Cash’s The Circle offers us some insight into the human condition, power struggles, and personal transformation but it just fails to pack that one big powerful punch needed to hit home what therapy is all about and how it can help people become better versions of themselves. When it is executed well, The Circle reminds audiences of the universal need for understanding, healing, and connection.
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