Be warned: the opening moments of co-writer and director Aneesh Chaganty's
Searching is comparable to the opening of Disney and Pixar's
UP and if you haven't seen
UP you should probably do that, but if you have you'll understand the monumental comparison this is and what it undoubtedly implies in terms of the powerful nature this movie sets itself up to deliver right out of the gate. In this opening montage Chaganty along with co-writer Sev Ohanian as well as their editors, Nick Johnson and Will Merrick, swiftly establish who our characters are and where they've come from so that the viewer is keenly aware of the point each character is at in their lives as well as providing an equal balance of clues and intrigue as to what headspace these characters might be wading through as the film then delves into the current predicament the movie will chronicle.
Searching is ultimately about relationships, the toll that grief, sorrow, and shame can take on certain dynamics as well as how different people deal with and react to such emotions. Moreover,
Searching filters this exploration of dealing in such emotions through the guise of the ever-evolving technology of our modern world; commenting on the highs and lows of documenting our every move. Naturally, it's nice to be able to capture so much of our everyday lives and share achievements and moments with those we both count as friends and those we'd just kind of like to show-off in front of, but there's also that drawback of constantly having something to post or log in the simple fact that some memories are best forgotten while others we may eventually prefer to not be reminded of. Of course, Facebook hardly lets one forget anything these days and thus is the genius of Chaganty's film as it places the audience firmly within the perspective of John Cho's David Kim not through who he is or the circumstances of his life necessarily, but through how he conducts himself online and how his documentation of life events is likely akin to any given audience members. In the aforementioned opening montage, we see David go through the joys of fatherhood, the love of a genuine marriage, and the heartbreak of a tragic loss all through the (Microsoft) window(s) frame of social media, Skype, and of other means of chronicling our day to day integrate themselves as such painting a more and more fully realized picture by the time we're up to present day. This technique is efficient in establishing a set of characters and circumstances for which we become invested, that we care about, that we're curious about, and ultimately somewhat concerned about even before the main narrative kicks in all due solely to this opening montage that hooks us line and sinker. In short, it's a prime example of expert craftsmanship.
