The best moments are when these two overlap during the interviews that Lennon does with some of these bands who all seem to be comfortable and willing to make jokes about themselves and the scene. This setting allows for a nice mix of fantastic concert performances from a number of real bands in the scene, and jokes about self-serious artists and patrons who are more interested in saying something that sounds profound to those around at any given moment than actually creating anything meaningful. Poser’s version of this story revolves around music specifically, but the general art, and let’s be honest “hipster,” scene in Columbus.
It’s a fairly well trodden story at this point, born of Single White Female and with the most recent major film iteration in Ingrid Goes West, but it continues to get reinterpreted in different scenes and through different mediums, and never seems to go entirely stale. Over the course of the film, these friendships grow and Lennon’s desire to not just be near but like these friends, especially Bobbi, leads her to make some less than great decisions. She befriends rapper Micah (Abdul Seidu) and electro/art pop singer/songwriter Bobbi Kitten (playing a version of herself), both of whom are intimidatingly attractive and invitingly charismatic. She begins a podcast for which she will highlight and interview upcoming artists in the scene and before long she has some success. Poser follows Lennon (Sylvie Mix), a young woman on the edges of the Columbus, Ohio underground music scene who desperately wants to break in. At the point where he declares ‘ There’s nothing less punk than listening to punk rock!’ on “satirical” single I Know You Like Black Flag, against a riff so insubstantial it’d make Fountains Of Wayne pause for thought, it’s hard to know whether he’s being serious or deliberately having a go at boiling some safety-pinned traditionalists’ piss.Poser, the feature film debut from writer/director/editor Noah Dixon and cinematographer/director Ori Segev, is a gorgeously shot (no wonder given that one of the co-directors has mostly worked as a cinematographer in the past) obsession thriller that flips between intriguingly original and unsurprisingly generic throughout its sub-90 minute runtime. ‘ I have a silent way about saying the things that I want to say,’ he expands on the imaginatively-titled Silent Way, duly declining to crank the volume. ‘ I’m scared that everybody knows it!’ As he unfolds that faintly melancholic pop vocal against an R&B beat, shimmering synths and extremely sparse guitars while being pushed as the next big thing in pop-punk, you can kind of see his point. ‘ In my head, I’m a fucking poser,’ he sings on pivotal track Imposter.
The best bet to get a handle on him, then, is this wryly titled six-track debut. There isn’t a substantial bio available anywhere between Instagram, Twitter and SoundCloud – though there are some great snaps of the man himself in pristine Juggalo make-up to gawp at. At the time of writing, there’s no Wikipedia page for Ricky Cano, or his hip-hop/pop-punk alter-ego. Who the fuck is Ricky Himself? It’s not a question easily answered through the normal means right now.
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