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By Design is available to rent or purchase on-demand.
DIRECTED BY: Amanda Kramer
FEATURING: Juliette Lewis, Mamoudou Athie, Samantha Matis
PLOT: A woman swaps bodies with… a chair.
COMMENTS: Body-swapping has a long tradition in cinema. From mainstream comedies (Penny Marshal’s Big) to horror/sci-fi flicks (Invasion of the Body Snatchers), it has established itself as a subgenre in our collective consciousness. More personal approaches can be found, too, using the premise to build an eccentric mood piece or a multilayered allegory with underlying social commentary (e.g. Under the Skin). The last category is where By Design belongs.
The plot follows Camille, a single woman with a life that seems unfulfilling to her, even if she tries to hide it. She is lonely; she has female friends, but jealousy often emerges between them. Her philosophical musings, expressed in a distinctly hypnotic voice, give a sense of her unique worldview and portray a character longing for something beyond her mundane life, something that will gain her attention and maybe even love.
She finds what she’s looking for in the most unexpected place, a shop selling designer chairs. From that moment on, everything plays out like a magical realist parable. She falls in love with a specific chair she cannot have, and through the power of her desire—there isn’t explicit lore here explaining the process—she swaps bodies with it so that they never have to part. And thus her odyssey begins.
After this transformation, the narrative splits, sometimes following chair-Camille and her encounters with a charming man named Olivier, at other times focusing on her now-vacant human body. The latter scenes recall the Theater of the Absurd, since most people don’t seem to realize something is off—not even her own mother. This suggests an underlying commentary on the way people prefer her as an object and an empty vessel rather than a person.
Kramer further develops her commentary on the objectification of bodies—both female and male—through Camille’s adventures as a chair. She is literally an object now, at the disposal of her new owner Olivier, a man who has himself been a victim of objectification and can understand her. Their weirdly erotic relationship suggests a deep understanding between them. All is not as it seems, however.
Kramer tells her story with theatricality from start till finish, culminating in short pieces of choreography. Most scenes take place in interior spaces. The furniture is of minimalist and modernist design. The acting could be described as melodramatic or over-expressive. This is clearly an expressionist artistic movie, not interested in submitting to naturalism. There are even POV shots from the perspective of a chair.
By Design will appeal to a variety of audiences: those seeking art-house curiosities with unique concepts will find it enjoyable, and its themes and the way it portrays human bodies —objectified, sensual, yet soulful—will intrigue those interested in the female gaze in cinema and feminist narratives.
