Arin, the shy videographer, describes his idea of the four eyed monster. “They have four eyes, they have two mouths, they have eight limbs that wrap around themselves in narcissistic self-adoration. It’s disgusting. And I can’t help but envy them.” He tells us this to a montage of happy couples in love, so we get the idea. He’s an outsider looking in, and can’t help but see a couple as a single unit, both fascinating and repellant. And he wants to be apart of one.

Kind of a cute analogy, right? A little pretentious, observant in a half-smart sort of way, a little saccharine, but mostly sweet and inoffensive. And that’s the film for you. Four Eyed Monsters is an autobiographical account of the relationship between Arin and artist-cum-waitress Susan. Arin’s the kind of guy so painfully shy he insists on talking to a date through notes, even when the cuteness of the game has long run its course. Susan is the kind of girl who doesn’t mind then-stranger Arin following her around with a video camera, despite having two abusive stalker ex-boyfriends. But whatever. They’re mildly interesting people, basically harmless and sympathetic, if a touch on the self-absorbed side. But hey, they’re artists in New York City. That’s to be expected.

Four Eyed Monsters is billed as an indie romance, so it’s a little surprising how conventional the story is. Not to say its method of delivery is conventional. Watching the film, I got the idea that a whole clutch of artist friends pulled together to contribute. The result is good music and great animated sequences. Fitting that the artists should choose their selected mediums to express themselves. Revealing, that what they have to say is so mundane.

Arin finds Susan through MySpace. Legions of women ignore his clumsy private message pick-up lines, but Susan, for whatever reason, bites. They meet for one magic endless date. They sleep together. Soon after, Arin spots something abnormal, and a run to a free clinic confirms it: he has herpes. Arin’s already timid about sex, and this is enough for him to push Susan away. Susan spends a month at an artist’s commune, partly to figure out if she’s got the proper drive, and partly to get the hell away from Arin. Arin and Susan exchange video diaries. They get back together. They fight. And finally, they decide to map out their relationship on video. For themselves, and for the rest of us.

I knew very little about Four Eyed Monsters when I watched it. I had no idea Arin and Susan were playing themselves in the story of their own life; I suppose it’s a testament to their natural talent that I believed them completely as actors. When the final minutes came and I realized I was seeing them construct the story I’d just seen, I was both impressed and disappointed. Impressed because the reveal was so effective, and the connection between real life and narrative so fluid. Disappointed because we have no shortage of artists who can’t find anything to talk about but themselves.

But I do admire their honesty. I was able to look past some of the film-school theatrics and enjoy the earnestness and enthusiasm of talented amateurs. Four Eyed Monsters is being released in select cities all over the country on Valentine’s Day, putting it up against whatever lame romantic comedy the studios trot out every year. You can bet it’s a damn sight more vibrant than anything starring Hugh Grant. Just don’t expect it to be much more intelligent.