The symbiotic relationship between Mel Eslyn and Mark Duplass is akin to the dynamic between Mario and Luigi – each vital to the other’s existence. This comedic duo, along with other members of their closely-knit extended family, notably the iconic Lynn Shelton (whom we lost in 2020), has been a cornerstone of the American indie scene for over a decade. With a prolific output, they have collectively shaped the landscape. Now, the cheerleader pom-poms have shifted into Mark’s hands, as it was Mel Eslyn’s turn to step behind the camera for her feature film debut. Notably, Biosphere was made a surprise, last-minute addition at TIFF, and the decision to keep the details of its unraveling a secret only adds to its intrigue. You see, Eslyn packs a lot into a film which by appearances appears to be a simple buddy stuck on a desert island dramedy that pushes besties Billy (Mark Duplass) and Ray (Sterling K. Brown) to a no “man’s land and true new frontiers.
I got to speak to Mel at the American Film Festival in Wroclaw, Poland – we looked back on how Room 104 helped change the landscape, the shorthand between her and Mark, and the score design by Danny Bensi and Saunder Jurriaans.
Eric Lavallée is the founder, CEO, editor-in-chief, film journalist and critic at IONCINEMA.com (founded in 2000). Eric is a regular at Sundance, Cannes and TIFF. He has a BFA in Film Studies at the Mel Hoppenheim School of Cinema. In 2013 he served as a Narrative Competition Jury Member at the SXSW Film Festival. He was an associate producer on Mark Jackson's This Teacher (2018 LA Film Festival, 2018 BFI London). In 2022 he served as a New Flesh Comp for Best First Feature at the 2022 Fantasia Intl. Film Festival. Current top films for 2022 include Tár (Todd Field), All That Breathes (Shaunak Sen), Aftersun (Charlotte Wells).
