Tony Mucci’s short directorial debut, Money Talk$, is as striking as it is engaging. It is a short film that takes a bold approach and makes it work to a magnificent effect.

It’s 1981, and President Reagan is getting inaugurated. Meanwhile, in New York City, a $100 bill is travelling through the underbelly of the city and experiencing the true state of Reagans America.

Money is a strange beast; its importance in our lives over the past few millennia cannot be overstated. No matter how much we hate to admit it, we need it for everything. Rent, food, water and, in Money Talk$ case, a 1981 New York City that was not known for being quiet and peaceful, so instead, an abundance of Star Wars toys, drugs and sex is bought. It’s this seemingly insignificant paper thing, a tangible object that holds so much importance. Or at least it did before recently when this physically important piece of paper suddenly started to become less and less important as invisible money became more prevalent.

Having the film set at this time is quite perfect; it asks a simple question: what would you do if such money came into your hands? We see the various things our characters do, but under similar situations, would we do the same as those who are profoundly generous with that note? This part of New York is in crisis; a major recession is looming, and, except for a select few, it will soon become a very different place. Still, for now, it is full of those who will lie and steal their way to get money, only to blow it away foolishly on their addictions.

From a visual standpoint, this film is effectively a highlight reel of what can be achieved beyond a standard camera shot. There is a great inventiveness to Money Talk$, from the point of view of inside, the drug-addicted Franklin’s broken and bloody mouth of the gun and the assailant who is pointing said gun at him. To Iris floating down the hallway after getting paid. Director Tony Mucci’s stamp of creativity is evident. It brings a strong energy to the film, allowing the audience to be immediately engaged with the story being told.

That magnetic energy is difficult to achieve when you have so many stories needing to be told, and it would be easy for the film to lose steam at some point. Yet, thanks to the strong writing from co-writers Mucci and actor David Mazouz, we can easily follow the flow and enjoy the moments that connect each story. With a script that tosses in the odd homage to other New York directors (have a fun time ticking those off as you watch it), you would be worried that it would overrun itself by being too “cute”. However, with a nearly 30-minute runtime, it wisely spreads those moments out, allowing Mucci and Mazouz’s creativity to shine.

We also have a powerful cast here as well, with all of them getting their own strong moments. This is a young cast who, like their director, are only going to flood your screens in the future. Although brief, their performances are impactful, with Zolee Griggs being a quiet standout as Cleopatra, the scene with her and Mucci as a cashier who is trying hopelessly to flirt with her felt like a welcome piece of optimism, with her being a lovely glimmer of belief that not everyone in the city is a lost cause.

Money Talk$ is Mucci’s first foray into narrative filmmaking. By the quality he has shown, it surely won’t be his last, as he is a talent that you will need to keep an eye on.

★★★★

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