By: Clint Worthington

And now for something a little more life-affirming and vibrant – Gregory Dixon‘s free-wheeling Chicago indie comedy Olympia. In the abstract, it’s the kind of millennial-needs-to-grow-up story that’s been told plenty of times before; however, writer/star McKenzie Chinn infuses the story of a visual artist debating her life options upon turning 30 with a refreshing sense of regionality. The film’s Chicago setting is front and center, from discussions along the Riverwalk to friends breaking out the Malort to out-of-town visitors, to the unending arguments with her significant other (played with sensitivity by Charles Andrew Gardner) about the greater opportunities that lie out on the coasts.

“When you’re in your 20s, you can be as much of an adult as you want to be,” laments Olympia, “but if you’re in your 30s and your life isn’t together, you’re probably just a standard fuckup.” This sense of millennial malaise permeates every inch of Chinn’s wonderfully acerbic performance, infusing her frustrated soon-to-be thirtysomething with a relatable sense of aimlessness. Olympia’s art – a charming portfolio of vivid sketches infused with color – is a major source of identity for her, and Dixon endearingly overlays these sketches into the fabric of the film. Between the bright, squiggly overlays of Olympia’s art style over the scenes themselves, and Dixon cutting the film beat for beat to the the bouncy pop score from Josh Coffey and Otto Sharp, Olympia feels incredibly inviting, even as its protagonist’s situation grows ever more complicated. It’s a eye-popping debut, and a great showcase for Chicago’s incredibly diverse talent pool.

Look out for our upcoming interview podcast with Olympia writer/star McKenzie Chinn, director Gregory Dixon, and co-star Charles Andrew Gardner.