Its title being quite a mouthful says almost nothing of the delightful surprises housed just underneath the surface of deranged dark comedy, The Shallow Tale of a Writer Who Decided to Write About a Serial Killer. Collecting an all-star cast including John Magaro (Past Lives, Orange is the New Black), Britt Lower (Severance, Darkest Miriam), and legendary Emmy-winning Steve Buscemi (Boardwalk Empire, Mr. Deeds), the movie is practically unclassifiable. In many ways, it builds on every sequence like a set of dominos waiting to topple. For his first English-language feature, Tolga Karaçelik hides an extensive marital counseling session just beneath the surface of his strange and shocking comedy of errors. Bold and quirky, The Shallow Tale of a Writer Who Decided to Write About a Serial Killer uses its own unorthodox methods to carve out a new niche in the dramedy space that is one phone call away from being perfect.
As with so many before it, Shallow Tale begins near the end, with novelist Keane (Magaro) tied and gagged in a chair, and serial killer Kollmick (Buscemi) hovering over him. “You are going to die tonight,” Kollmick says. In a shower of bullet sounds, the opening titles explode onto the screen. By starting here, an obvious build towards this event feels like a necessity, and adds a certain thrust to the proceedings. We wait for Kollmick to kill Keane, as this part of the story simply must occur. In a traditional crime flick, that is probably the sort of thing that would happen in the climax as it builds to their confrontation. Shallow Tale refuses to be that type of film.
Weeks prior, Keane has been struggling with a concept for his second book after the breakout success of his first. He keeps jumping from topic to topic without being able to settle; now, he seems pretty focused on making a book set in 40,000 B.C., chronicling the love between the last Neanderthal man and a Homo Sapien woman. His premise isn’t exactly a hit at dinner parties, and Keane’s wife, Suzie (Lower) has hit a breaking point. Suzie cannot deal with Keane’s constant agreeable attitude and refusal to form opinions of his own. Their issues within their marriage are exacerbated when, slicing up onions because she “likes the way it sounds,” Suzie tells Keane that she wants a divorce. In these early scenes, Suzie and Keane are established as having very little in common. Susie’s coldness is the perfect fit for Lower’s brittle, distant performance. Before Kollmick comes into the picture, Suzie’s icy hatred for what Keane has become makes their relationship very fun to watch. As she brandishes a knife or tells Keane a stoplight is green when it is actually red, Lower makes a meal of her complex characterization and line deliveries.
After meeting with his agent—who notably insists that Keane should consider writing about something he knows rather than cavemen—Keane is approached by Kollmick, claiming to be a huge fan of his work. Buscemi’s entrance in the diner changes the fabric of the film itself, tangibly shifting the energy. Kollmick tells Keane he should write about a serial killer for his next book. Later, on their second encounter, Kollmick reveals that he has retired from being a serial killer, promising to give an insight on how they tick. The two head back to Keane’s place for a nightcap, but Suzie unexpectedly wakes up to Kollmick in their apartment. Thinking on his decidedly drunk feet, Keane quickly divulges he has chosen Kollmick as their new marriage counselor. From here, Shallow Tale morphs into an engaging treat that constantly tops itself whilst building toward a maddeningly epic crescendo of worlds colliding.
Karaçelik somehow manages to perfectly mix the humor with the darkness, utilizing his trio of wonderful actors and always playing to their strengths. Even a seemingly dissonant sidebar that actualizes Keane’s silly cavemen ideas works, managing to satirize marital arguments. Picking a standout is not easy, but Lower’s crackling ferocity makes Suzie an easy option. Magaro’s unhinged energy contrasts perfectly against Buscemi’s restrained straight man. Flipping the script, the serial killer ends up potentially being the most sane, equally balanced presence in the film.
Against all odds, The Shallow Tale of a Writer Who Decided to Write About a Serial Killer becomes a giant marriage counseling session, complete with surprising takeaways from all involved. Finding those bizarrely potent doses of comedy only works on the backs of Buscemi, Lower, and Magaro. In their faux counseling sessions, Kollmick plays a role he has never tried before, demanding the couple stare at his dead, taxidermied cat rather than speak aloud with one another. Unconventional therapy can still be therapeutic for those involved; the unfolding and reconfiguration of Keane and Suzie’s marital journey may be a bumpy ride, but it is definitely one audiences will be anxious to revisit and reassess.
The Shallow Tale of a Writer Who Decided to Write About a Serial Killer premiered at 2024’s Tribeca Film Festival.
