I am a good person / I am a bad person

I am a Good Person/I am a Bad Person is a compelling independent film from 2011 that seamlessly merges drama with elements of self-exploration. Dirigated by Ingrid Veninger, the movie stars her along with Hallie Switzer and Braden Sauder. The movie skillfully presents an inspective narrative that weaves together a mother-daughter relationship with the complexities of self-identity and introspection.

In the movie, Veninger plays Ruby White, a Toronto-based independent filmmaker who embarks on a European tour with her teenage daughter Sara, played by Switzer, promoting her latest film. Interestingly, unlike mainstream dramatic features, Veninger's characteristic low-budget roots permeate the core narrative strategy of this movie. Ruby’s film within a film is essentially an eccentric pseudo-intellectual piece drawn from the fringes of the art-house scene, a detail that engrosses the audience while adding an additional layer of reflexivity to the overall narrative.

Ruby White is simultaneously complicated, frustrating, and richly human. She's a floundering artist trying to garner sales and positive reviews for her film, all the while dealing with internal struggles related to her role as a mother and her own personhood. The "good person/bad person" dichotomy appears to be a constant struggle within Ruby, an echo of her introspective journey towards understanding and accepting herself.

Sara, the 18-year old daughter, perceived as the more matured, calm and emotionally stable counterpart, provides a foil to her mother's erratic character. This is what makes the heart of the film as the dynamic between the two women enhances the evocative undercurrent of the narrative. It balances the chaos and the calm, pitting the fiery creative spirit of Ruby against the more grounded, realist Sara. The palpable tension between this mother-daughter duo contributes to the core emotional framework of the film.

Shot in various locations including Paris, Berlin, and London, the film also provides beautiful backdrops for the characters’ emotional sagas. Its use of location gives the narrative an additional layer of interesting texture, each city reflecting a change or shift within both Ruby and Sara. This acts like a silent commentary, making the cities more than mere shooting sites, but rather integral to the narrative flow.

The integral presence of Switzer's real-life brother, Braden Sauder, marks another compelling element of I am a Good Person/I am a Bad Person. In the movie, Sauder plays Sara's brother who remains back home in Canada. The intermittent scenes with him give the audience an interesting perspective, juxtaposing the intense emotional scenes of the mother-daughter duo in the diverse cities against the mundane yet serene life back home.

Veninger adeptly shows her understanding of character-driven narratives. This can be seen through the seemingly ordinary conversations and interactions skilfully interspersed throughout the film. These scenes offer thought-provoking glimpses of the characters' introspective journeys. The result is a raw, sincere exploration of what it means to be a parent, a child, a woman, and fundamentally, a person.

The film's underlying exploration of femininity and motherhood through the prism of personal and professional conflicts is another striking feature. Veninger juxtaposes spiritual exploration with practical realities, creating an insightful portrayal of womanhood. Additionally, the fact that Veninger and Switzer are mother-daughter in real life adds an inherently authentic layer to their performances.

I am a Good Person/I am a Bad Person is a unique film that invokes reflection, provides emotional depth, and presents a riveting character study of personalities. While it may seem to be a film about an impromptu trip or a filmmaker's struggle, it delves deeper into human complexities and life's subtle yet valuable lessons.

A film by Ingrid Veninger, I am a Good Person/I am a Bad Person personifies indie cinema's ability to bring forth raw, real, and riveting narratives. It uses a minimalistic approach to offer poignant social commentary and explores emotional landscapes with aplomb, making it a must-watch for those who appreciate thoughtful independent cinema.