7 Reasons to Run Away (From Society) opens with a bearded slacker adult son being awoken by his concerned parents. Despite the hour, they need to talk to him about something and it cannot wait.
Their story begins with his conception. He learns his father did not pull out quickly enough and he was an accidental pregnancy. Then he learns that they wanted to abort him but his grandfather saved him from that fate. Upon being born, his parents next tried to drown him in a pool. Again his grandfather intervened. In fact, he may not remember it, but his grandfather actually raised him until he was four. But he raped him the whole time and made videos of it. Nevertheless, he made it into adulthood. The final secret his parents reveal is their plan to help out the world by finally murdering him as they intended all those years ago. And they do. Then they discuss whether to sell his corpse for sex or food.
Oh no, wait. The film actually begins with a Buñuel quote (“I’m tired of symmetry” from The Phantom of Liberty). THEN it shows this guy getting murdered by his parents.
And that’s 7 Reasons to Run Away (From Society) in a nutshell. The film offers seven funny, mean-spirited vignettes of insanity, each engaging a facet of society in interesting, unexpected ways. There’s “Order” for instance, in which a trio of people realize they no longer know what number comes after six. And then there is “Property” which focuses on a professional woman being shown an apartment featuring a dead body blatantly dangling from a noose, The opening example I used is from the “Family” segment.
There are seven reasons, but only three directors, Esteve Soler, Gerard Quinto, and David Torres, working with stage material by Solar. The film is just about perfect for festival exhibition, but I’m not certain what kind of life it has afterward - though who knows, except for a brief epilogue, maybe Netflix could wack this into a series of seven brief episodes and call it a series. The three directors are curious, as the entirety of 7 Reasons feels of a piece, indicating the supreme role offered Sole’s writing.
Which is probably as it should be. This is very much a writer’s movie, filled with great lines and unexpected left turns and total dismissals of reality for the sake of metaphor. Having said that, it looks good and is extremely well-acted, even though no one is doing any heavy lifting on any of those scores. It’s neither an actor’s showcase nor a good fit for memorable visuals, just a devoted arena for absurdity played straight both in front of and behind the camera. If that sounds intriguing, and you like your comedy about as black as it gets, you should definitely consider leaving society and tracking the film down.