The Hungry Ghosts (Michael Imperioli, 2009): USA

Reviewed by Khristine Biver.  Viewed at Santa Barbara Film Festival 2010.

According to Wikipedia, the term “hungry ghosts” refers to a mode of existence one can ascend to after living a life of addiction, obsession, or compulsion, among other depraved behaviors.  Physically unable to eat, these ghosts feel depraved not because they aren’t able to get what they want, but because they cannot know true satisfaction and relief due to their greed, envy, and jealousy.

With that in mind, The Hungry Ghosts is an aptly titled filmed.  In his writing and directorial film debut, Michael Imperioli, of “The Sopranos” fame, captures precisely the appetite his characters are thirsting for.  All in search of spiritual, sensual and emotional satisfaction, a group of New Yorkers of varying age, race and class wander the streets of New York over the course of 36 hours.

Frank, played by Steven Schirripa, is a divorced father in constant need to feed his drug and gambling addictions.  With these desires taking over his life, it is no wonder that he is a deadbeat father to his teenage son, Matthew (Emory Cohen).  Their attempt to reconnect their father son relationship in therapy sessions is a clear display that it’s too little too late.  Matthew is smothered by his mother, Sharon (Sharon Angela), disappointed by his father, is thus another hungry ghost, searching for self worth.

Nadia (Aunjanue Ellis) has skipped out of her rented apartment in a somewhat vague journey to find her true calling.  Ignoring the calls from her ex-boyfriend, Gus (Nick Sandow), she quenches her thirst thru sex and yoga.  Gus, fresh out of AA rehab, will not be satisfied until he can get Nadia back.

The lives of these depraved humans are all weaved separately throughout the film.  In doing so, Imperioli did a nice job in his writing to show these characters immorality and yet they all seemed to have redeeming qualities hidden beneath the surface.

Unfortunately, the film is lacking in denouement.  There is little in way of resolution for these characters, only hints of how their lives may change for the better.

The acting stands out in this film and captures the desires that all of these characters have. Schirripa’s depiction of a father who has lost connection with his child is very persuasive, especially in a therapy scene in which his son has run away.  His next to nothing attempt to find him, putting the worry off on his mother, is a distinguishable representation of his character.

In a Q&A session Imperioli expressed how these characters are portrayals of people in New York post 9-11.  Although there is no direct link of this in the film, it is notable if one were to look at this film analytically.  With this information, the characters motives are a bit clearer, unfortunately, the average movie goes will probably not pick up on these nuances.  Imperioli wants the film to come across as hopeful, but in the end I felt emotionally drained as I witnesses these characters’ turmoil that seems to not fade.