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STAR VEHICLE | Omeleto

Five actors wait for a sixth. STAR VEHICLE is used with permission from Tiffany Yvonne Cox. Learn more at https://tiffanyyvonnecox.com. An assortment of "day players" have been hired for the day on a television show. There's a "gay black man," a "black woman," a "tall girl, an "angry guy" and "Middle Eastern guy." These bit-part actors are waiting to be called to set, but they're still waiting for a mysterious sixth actor who will be playing "hot girl." They've all spent time playing bit roles on other shows and movies -- and as they chat, they reveal their industry experiences and touch about the frustrations and foibles of trying to carve out a career filling in Hollywood's "diversity" imperative. Directed by Tiffany Yvonne Cox and written by Will Allan (who also plays the role of "Angry Guy"), this acerbic short comedy is an affectionate yet sharply observant love letter to the Hollywood day player, a class of actors who are hired for small roles, have few lines and are only on set for a day or two. With roles so small they often only get a basic description like "Tall Girl" or "Gay Black Man," they often forge careers in the face of uncertainty, anxiety and needling feelings of invisibility. Shot with the bright, gleaming look of a well-appointed Hollywood show or movie, the film starts quickly, capturing the friendly professional camaraderie between the bit-part actors in an industry where inside intel and networking often lead to the next job or opportunity. The witty, observant storytelling right away notes each actor's role, flattened to basic descriptions like Angry Guy, Tall Girl or Black Woman, though those descriptions don't capture how specific and uniquely personable each character is. The Angry Guy is self-deprecating and funny; the Black Woman is smart, reserved and slyly sarcastic; Tall Girl is well-informed, well-meaning and friendly. The writing crackles with their different perspectives and wit, delineating each character well, even in the short format. As the group quickly bonds and chat about their industry experiences, what emerges is a well-layered, funny dialogue that captures what it means to play an identity and not a character for these actors. Some express a resignation at the stereotypes they get reduced to, with little room to make them dimensional. Others find humor in the ridiculousness, shrugging off the pretzel act that comes from trying to fit a multifaceted person into a label. The ensemble cast -- actors Londen Shannon, Angela Alise, Clare Cooney, Behzad Dabu and Allan -- bounce well off one another, their reactions often providing humor at occasional moments of cluelessness. What emerges as the discussion develops is how these small roles reflect larger societal discomforts about how we talk about -- and often around -- identity and diversity in general, all while slyly skewering Hollywood's shallow approach towards broader representation in general. Yet ultimately, these actors make a living in an often cut-throat, profit-obsessed business, and at the end of the witty, entertaining STAR VEHICLE, they shrug off the discontents and retreat into their stinky segments of a trailer, separated from one another. It's a wry, almost ironic ending that has notes of wistfulness -- almost like a missed opportunity in forging connections that could lead to genuine solidarity, the kind needed to make change in an entrenched industry.