By Anthony Francis | October 14, 2024, originally published in The Movie Review

“The director, Alyssa Rallo Bennett, and the cast… are a match made in heaven ;)”

Over the course of one’s life, people enter and leave. Some may carve out lasting bonds, while others are mere acquaintances. Once in a while, there are situations where we find ourselves amongst a group of strangers. Be it some form of social occasion (here, a random Manhattan bar), sometimes a small room of people who have never met can bring a needed clarity into how we perceive the world. Alyssa Rallo Bennett’s The Arrival is just that type of film. 

The film examines the lives of six characters who randomly find themselves in a bar. Each of their life stories weave together, tethering the characters to one another. These are important connections that will have a powerful impact on each character; lives forever changed from one random evening. Although these people do not know one another, Bennett’s picture could be dubbed “The Little Chill”; a comparison to Lawrence Kasdan’s 1983 classic, The Big Chill. In Kasdan’s film, the characters’ worldview has already been discolored and it is their weekend reunion that allows them to reconnect to their true selves. The people who populate the world of The Arrival are on the same life path.  

The different personalities and backgrounds of the characters don’t collide but flow along with the naturalistic atmosphere created by the script, which was written by the director’s husband Gary O. Bennett. The Arrival is infused with smart dialogue and good performances from its cast. Alice Heber Martin, Peter Bradbury, Nikolas Elrifi, Nick Hamparyan, Vivian Helvajian, Ines Ladha, Pooya Mohseni and Daniela Urdaneta do fine work. Each performer finds an organic creation in their respective portrayals. A good deal of the performers are first-timers on the screen and their work here should allow them long and respectful careers.  

Alyssa Rallo Bennett chooses an easy-going and rightfully unobtrusive style. The filmmaker has confidence in the drama of the piece and understands the emotional tension comes from the characters and the well-written dialogue. There is no need for directorial flourishes, but this is more than a “filmed play” atmosphere. Through naturally constructed lighting, cinematographer Michael Munari captures the nighttime atmosphere of a sparsely populated bar. Munari’s camera keeps an open-framing style, capturing the performances and allowing the characters to breathe.

The Arrival focuses on those who are moving through their life journeys, seeking self-worth, and looking to define themselves and the world that exists outside of their bubble. The screenplay involves its audience in adult conversations that explore many different layers of the human condition. Bennett paints her film with a sharp analytical edge, showing a compassion for the characters that echoes through every scene. Through a brash honesty, the director has crafted a rewarding filmmaking experience.

As one character states, “Whenever there are people, there’s a story.”

Alyssa Rallo Bennett’s The Arrival had its World Premiere at the Martha’s Vineyard Women in Film Festival and its NYC premiere opening night at Big Apple Film Festival.

The Arrival
Written by Gary O. Bennett
Directed by Alyssa Rallo Bennett
Starring Alice Heber Martin, Peter Bradbury, Nikolas Elrifi, Nick Hamparyan, Vivian Helvajian, Ines Ladha, Pooya Mohseni, Daniela Urdaneta

NR, 71 Minutes, Gravitas Ventures, Stonestreet Studios