Part defanged Ingrid Goes West, part Our Band Could Be Your Life (and you may wish that part was the whole), Poser poses an intriguing conundrum for itself. But mostly it becomes an excuse for Lennon to insinuate herself into Kitten's world, as Poser increasingly becomes an arthouse Single White Female told from the perspective of Jennifer Jason Leigh's character. The young follower has inserted herself into the $5 cover music scene through meekly asking local creatives to be on her podcast, a show that no one ever seems to wonder why they've never actually heard an episode of.
It's also very much a mash note to electro-pop duo Damn the Witch Siren (appearing as themselves) and especially to Bobbi Kitten (charismatic and wild, appearing as a fictionalized version of herself), somewhat stalked by the wannabe artist/wannabe somebody Lennon (Mix, deliberately if sometimes frustratingly a cypher). Smoky, hazy, dreamdrift cinematography courtesy of Logan Floyd gives Poser a poignancy and glow that is alluring but never quite captures the piss-trough stink and spilled-drink stickiness of an actual underground art scene. But Poser, the debut feature from local filmmakers Ori Segev and Noah Dixon, is so in love with the scene from which it draws, with the bands given momentary cameos, with the cool hipness and store brand subversion of it all, that they never seem quite capable of giving it the critique for which they seem to aim.
We've all been there, in that cheap beer demimonde where sloppy precision is everything, and the next big thing is everywhere else's fifth-on-the-bill touring act. While slow-bubble psychodrama Poser might be deeply entrenched in the art rock scene of Columbus, Ohio, there's a comfortable recognizability to its depiction of underground gigs, halfway-informed discussions on creativity.
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