The End of Love (2013)
THE END OF LOVE tells the story of struggling actor, Mark (played by writer/director Mark Webber), who is forced to grapple with his inability to grow up when the mother of his two-year-old son Isaac suddenly passes away. As he kindles a relationship with a young single mother (Shannyn Sossamon, 40 Days and 40 Nights), he begins to realize that he can no longer remain in denial about the real-life consequences his choices have on Isaac (played by Isaac Love, Webber's real-life son). The End of Love is an intimate and stunningly honest portrait of a young father in transition between the life he's been working for and the one that's waiting for him.(c) Official Site … More
as Casting Director
as Casting Assistant
as Kind Kreme worker
as Tow Yard worker
as Playland Employee
as Pet Store worker
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Critic Reviews for The End of Love
Those willing to drift along with it will find a compelling character study about a man coming to terms with himself, his son, and the people who enter their lives.
Creative people often mistakenly assume that the trials of their profession are compelling.
"The End of Love" is an exceptionally intimate, human-scaled picture. It's also quite a special piece of work.
Mr. Webber, a skilled actor, has not devised a narrative with sufficient momentum or tension to sustain much interest.
There is plenty of evidence that Webber has something significant to say, and the gifts with which to express himself. Once he's ready to commit fully to his own vision, there's no end to what he might accomplish.
Shot with tiny digital cameras to minimize the sense of intrusion, The End Of Love sometimes feels like a home movie, but that's also the source of its strength.
Mark Webber's "The End of Love" connects and lingers by making incredible effort seem natural.
There are some lovely and moving things here, but over the long haul it's more like watching an hour and a half of someone's weekend trip to Knott's Berry Farm.
It's the kind of indie in which shrugging naturalism means nobody has a distinctive personality or energy, and the claustrophobic sense of young Industry workers collarbone-deep into their own navels is hard to shake.
Though the loss that underlies Mark's emotional state feels like a scripted conceit, The End of Love excels at conveying the moment-to-moment frustrations and exhilarations of being a dad.
Webber appears to be making an audition tape with his second directorial effort, using screen time to display a range of moods and dramatic encounters that could go on to secure future jobs for the actor.
Feels like the navel-gazing West Coast answer to the more caustic East Coast sensibility of the recent Daddy Longlegs.
Not sure if The End of Love's Mark Webber got that callback from Paul Thomas Anderson, but the Mark Webber who made The End of Love deserves to be getting a few.
Too often toddles over the fine line between cute and cloying before finding its footing in the final reel.
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