Carrying a film that heavily relies on the dialogue between its four characters can be difficult to pull off for the most part, but The Wheel manages to (mostly) do just that thanks to its unfolding backstory and the strength of its lead actors’ performances. Directed by Steve Pink from a script by Trent Atkinson, The Wheel is a heartfelt drama about the unraveling of relationships and learning to be vulnerable. While the first half of the film struggles, the second half deftly explores the character dynamics in a tender way that makes it well worth the watch.
Albee (Amber Midthunder) and Walker (Taylor Gray) have been married for eight years when they drive to a cabin in a final effort to save their failing marriage. The young couple, who were married at 16 after several years of being in a group home, sees their relationship through different lenses. Walker is trying to work through things and is endlessly patient and hopeful, but also quite frustrated; Albee is more keen on glancing at her phone rather than answering questions from a book that Walker bought to help them, convinced their marriage is beyond saving. After arriving at the Airbnb they rented for the weekend, they meet an older couple — Carly (Bethany Anne Lind) and Ben (Nelson Lee) — who are gearing up to be married in a couple of weeks. Carly feels bad for Albee and Walker and tries to help despite Ben begging her to stay out of their business. But as the latter couple attempts to put the pieces of their visitors’ relationship back together, they realize there are some cracks that have gone overlooked in their own union.
The first half of The Wheel over exerts itself, worrying too much about maintaining the mystery than in organically unpacking the backstory of the characters. This certainly creates an imbalance in Albee and Walker’s relationship, in particular, as the former is labeled mean asshole by their hosts (who, in many ways, serve as the lens through which the audience learns about the main couple’s hardships) and isn’t given the benefit of the doubt until much later on. Albee is guarded, lashing out at anyone and everyone who crosses her path so as to avoid facing the vulnerability and depth of her emotions, too afraid to look weak.
In trying to get Albee to open up, Walker is often construed as the overly nice guy, someone who both Carly and Ben see as in need of saving. But it’s only Walker who understands the layers of hurt and trauma Albee has faced in her life and, as the film unfolds, the direction and the writing become stronger as it poignantly and thoroughly explores a relationship that is more complicated than it seems. When the film leans into the tenderness and vulnerability is when the story (and the acting) truly soar. Midthunder and Gray deliver excellent, stand-out performances as Albee and Walker, respectively. Midthunder is especially good. Considering the writing sets her up to be a standoffish, stereotypical mean girl at first, Midthunder rises to the challenge to turn Albee into a three-dimensional character with scars, a fear of letting go, and sitting in the emotions she’s so scared to face.
It’s in the quieter moments — a hesitant smile, a lingering look, a heavy silence — that both actors show their range, elevating the dialogue-heavy film with the strength of their portrayals. Carly and Ben are more thinly drawn characters and their story, despite working to parallel that of Albee and Walker’s, struggles to be as emotionally effective. When the cracks in their own relationship start showing, the audience might find themselves not as invested in whether they stay together or not. The Wheel’s second half is where it truly finds its balance, unraveling, changing, and tearing into the dynamics with an emotionally-charged energy that sets up a beautifully crafted and heartfelt final scene between Albee and Walker that feels earned.
Pink’s close-up shots create intimacy, with Atkinson’s screenplay touching upon the many reasons people might be together. Whether they choose to stay in a seemingly bad relationship or if a relationship can even bring true happiness (and if it's something that is even attainable) isn’t the point of The Wheel. But in letting the main couple understand, acknowledge, and sit in their feelings — be they hurt, anger, frustration, or loneliness — is when the film is at its best.
The Wheel had its premiere at the Toronto International Film Festival on September 12, 2021. The film is 83 minutes long and is not yet rated.