INGRID GOES WEST (Matt Spicer, 2017)
INGRID GOES WEST begins with a distraught Ingrid Thorburn (Aubrey Plaza) crying as she scrolls through the bubbly Instagram posts her friend Charlotte (Meredith Hagner) makes from her wedding. Ingrid wasn’t invited, so she crashes the reception and maces Charlotte before being dragged off. Although it appears that this was a friendship that soured, in reality they barely know one another. Charlotte just happened to comment on one of Ingrid’s posts, leading the obsessive social media user to stalk her as though they were besties.
After a period of institutionalization, Ingrid returns home as isolated and lonely as ever now that her mother has died. Without any supervision, she reverts to bad behaviors and seeks a new person to fixate on. Ingrid zeroes in on photographer Taylor Sloane (Elizabeth Olsen). When she receives a tidbit of validation from her new target, Ingrid decides to use the money she inherited to move to California and hunt down her new best friend.
Make no mistake, Ingrid definitely has unresolved mental health issues, but the running joke in this dark comedy is that Taylor’s narcissism allows the distorted but symbiotic relationship to flourish. The “friendship” is mutually beneficial because it’s one-sided on both sides. Ingrid affirms everything Taylor says and does. She’s a mirror rather than a friend, but being like this gets Ingrid close to Taylor, which is all she wants. Taylor gets her ego stroked by someone who’s like the physical manifestation of her fawning Instagram mentions. Each person in the relationship matters only in the sense of what they reflect.
INGRID GOES WEST is savvy to the nuances of social media and smartphone usage. Not muting her phone’s keyboard provides an early indication of Ingrid’s pathology. Ingrid’s responses to posts are intended to seem casual but are in fact the result of several drafts that have her sweating over the least threatening way to indicate laughter without coming across as needy or deranged. Although writer-director Matt Spicer and co-writer David Branson Smith savagely dissect social media usage, they aren’t alarmists. When people are feeling more disconnected and superfluous, they identify the fundamental appeal of platforms that allow us to transmit idealized versions of ourselves and feel as though we are loved. How social media can be used isn’t a disease but a symptom.
If INGRID GOES WEST expresses contempt for anything, it is the predatory element that can drive the conversation. Taylor catches Ingrid’s eye because a magazine article pegs her as the new girl crush for readers. She’s not presented as someone who is interesting for whatever merits she has but as a trophy of sorts or this year’s product model to acquire. Conversely, Taylor’s persona is constructed on falsehoods that lay traps. Although purportedly a photographer, her real job is as an influencer. She’s paid to promote goods and services as though she’s sharing her tastes.
INGRID GOES WEST’s cast brings a pointed sense of humor to a world in which getting to know someone only goes as deep as creeping on their social media posts and lists of likes. Plaza tends to specialize in characters who are funny because they are so prickly. Part of the fun of her as Ingrid comes in how she disguises that aloofness and when she lets it show. For all of Ingrid’s purposeful and questionable actions, Plaza shows how this young woman is ultimately very naïve because most of her personal interactions are mediated through technology. O’Shea Jackson Jr. lends sweetness to the film as Ingrid’s incessantly vaping, BATMAN-obsessed landlord and sort-of boyfriend. Olsen is very funny exaggerating Taylor’s vapidity. The humor and horror of INGRID GOES WEST comes not from being a cautionary tale but the observation that, to a large extent, this is how we live now.
Grade: A-
