Last weekend, Beckley had the privilege of hosting the world-premier of “Ambrosia,” a self-proclaimed screwball comedy film that was written, produced and directed by the dynamic duo of Shane Pierce and Dave Gravely. Producer and photographer Saja Montague has previously stated in the West Virginia Explorer that cast and crew are composed entirely of native Appalachians, a point of pride for everyone involved. Another point of pride is the film’s principle location, which is set and filmed entirely in the landmark Ambrosia Inn in downtown Beckley. Starring Chris Oxly, David Sibray, Robby Moore, Eliska Hahn-Diller, Hannah Moore-Hughes, Afsheen Misaghi and Sandeep Chugh, does “Ambrosia” channel the classics of Hollywood’s past, or does the whimsical nature of the slapstick humor bring the whole house crashing down?

To start with, the plot is very streamlined and self-contained, taking place within a day at the local—and world renowned—Ambrosia Inn in downtown Beckley, West Virginia. Chris Oxly plays Quilliam Frankfurt, the caretaker and overseer of the inn during a particularly bad stretch of weather while an influx of eccentric—and hungry—guests arrive. Much of the plot, and humor, centers around Quilliam’s quests to entertain and nourish these guests because he takes his duties extremely seriously. For instance, when the Chef—portrayed by Afsheen Misaghi—lies about his cooking prowess, Quilliam must scramble to make sure his guests have the time of their lives while under his stewardship. Meanwhile, the guests end up intermingling with each other when the eccentric Stanley Kublitz—portrayed by David Sibray—falls for the allure of Eliska Hahn-Diller’s European charms.

There’s a lot going on here, but that’s the point. “Ambrosia” is more of a celebration of the art of cinema than an in-depth narrative exploration. This is a character-driven story, with each of the actors elevating their characters based on their archetype. For instance, Robby Moore plays a hapless father who’s daughter—portrayed by Hannah Moore-Hughes—is a cynical representative of the awakened youth. Sibray’s Stanley Kublitz is an obvious parody of the eccentric filmmaker, a role that Sibray was all too keen to sink his dramatic teeth into. There are moments of genuine conflict and tension that end up being defused with a well-placed joke, yet there are also serious moments of introspection and beauty, such as the underwater sequence.

The score—completed by Mathew Jackfert and recorded by Aaron Griffin—is another creative standout. The music complements each scene and amplifies the comedic timing of some of the most over-the-top gags, such as the infamous metronome sequence. Another standout aspect is the humorous black-and-white silent film portion, which pays homage to body-performance humor of the legendary Marx brothers. The film is packed full of such references, tributes and parodies, so cinephiles will have a lot to sink their teeth into while keeping up with the frenetic, scene-to-scene pacing of the screwball comedy.

Because much of the film is centered in comedic timing and dry-irony, the subjectivity of your enjoyment may vary wildly. Then there’s the budget, and the constraints that independent filmmaking places upon the creative direction. It’s a lot like trying to judge an independently developed video game versus a big-budget, triple AAA title. “Ambrosia” exists because of the passion of everyone involved, and because of the increasing demand for authentic Appalachian art. When considered holistically, “Ambrosia” is a roaring success for having been contemplated, then created, then released and now being reviewed. As a film, “Ambrosia” works well-enough as a self-contained slapstick comedy—as a piece of art, “Ambrosia” rises above its cinematic constraints to embody the willpower of its creators.