Review: Sex, Love, Misery: New New York (2022)

Sex, Love, Misery: New New York (2022) Review: In the contemporary world of dating, every single person wishes for entirely different things from their possible prospects. Some are looking for a person to hang out with, while others are looking for hookups that help their thirst traps get filled with a touch of sexual intimacy.

However, with the social media boom, the sudden surge of a pandemic-filled scare, and obvious isolation due to a more laid-back and comfortable approach to life, it has become increasingly difficult to really understand the person in front.

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With Sex, Love, Misery: New, New York, director Shannon Alexander has tried to seep through this filter of ambiguity that the contemporary dating scene has implied on everyone. Structured as a funny, sexy, and unfiltered look at the new dating scene in pandemic-era New York, this documentary feature tries to investigate and look into what’s really going on in people’s heads or behind their social media emojis when they meet someone.

Following 3 potential couples who are about to find themselves in front of each other, Alexander opts for a lively and frolic look at what dating is like in New York City. Within a span of 10 odd minutes, the director is able to establish all 6 people and their diverse natures. They don’t just come from different ethnicities and different mindsets but also wish for different things when it comes to finding a romantic partner.

The first and possibly the most interesting out of the lot is Aisha. Since she has a personality that motions through a lot of characteristic clutter, it’s not easy to really pinpoint what she is looking for. Alexander tries to linger the camera on her more than anyone else. While this brings out the flawed nature of the documentary, where things don’t feel as balanced as the initial minutes promise, Aisha’s story is obviously more interesting and engaging.

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The same cannot be said about Emile, the sexy French man, or all the other characters that have been captured here. And while Alexander tries to be unbiased, rendering a non-judgemental lens to them, you can’t help but notice the unnaturalness in their characters. It is almost as if they are emoting for the camera rather than being themselves. Izzie, Troy, Jack, and Camilla are people who do have a wide range of conclusions to bring to the documentary, but their honest thoughts don’t jell with the kind of mood the film sets off to achieve.

That said, there are still some really interesting takeaways from this 60-odd minute-long film. One of the most interesting approaches has to be how the director captures these people. I mean, capturing them at their most unhinged, most vulnerable, and most honest allows a genuinely empathetic way of storytelling to grow.

In spite of following the set parameters of an interview-style documentary, the director’s direct involvement in the film makes it more personal and frank. Since the audience gets to know these people in the exact way that their possible halves do, it evokes a warm, unbiased opening into the world of strangers. And for that alone, it comes recommended.