Arguably the most difficult aspect of storytelling is creating a character that the audience not only can relate to but also wants to relate to.

In most textbooks, it is the most essential rule to dominate great stories. But rules are meant to be broken, and there have been numerous instances where the protagonist is not the most likeable of people. Sometimes this experiment results in a film that is tough to stomach for viewers. Other times, as was the case of last year's "Inside Llewyn Davis," it works remarkably well.

Alex Ross Perry's "Listen Up Philip" attempts this experiment and manages a solid success. The title character Phillip (Jason Schwartzman) is about to publish his second novel, which is expected to be a major hit. But he somehow feels empty and is struggling with the everyday difficulties of life. It doesn't help that he is an arrogant jerk. He invites his ex-girlfriend over to smear his success in her face. He blasts his former best friend for failing to live up to his standards. He refuses to do interviews for his marketing campaign. He plays with a girl to get revenge on her previous indifference toward him. And most importantly, he cares little for his girlfriend Ashley (Elisabeth Moss) and her needs in their dwindling relationship.

The only person he seems to connect with in his life is his newfound mentor and noted author Ike Zimmerman (Jonathan Pryce), who has taken interest in Philip's work. Ike proposes that Philip spend time with him in a country getaway to help him with his writing. Phillip agrees, essentially ending his relationship with Ashley. From here on out, the film becomes about everyone in their struggles to reconnect with their lives in some form. Ultimately, they seem the only ones able to connect with another, and even that relationship is tentative at best.

Philip initially interests the viewer because he is such an unlikeable human that he fascinates with his arrogance. The viewer anticipates some sort of development and change for him from his humbling experiences. But after a while, the viewer comes to terms that he is never going to change, and the interest in the title character wanes.

Fortunately, Perry has an ace up his sleeve to ensure that the viewer does not tire of the narrative. He switches perspectives and abandons Philip for a while in order to focus on Ashley. He crops up here and there in her memories, but the new plot thread allows the viewer to watch her road to recovery before eventually returning to Philip. It gives the viewer some respite from Philip's unbearable character while also allowing for a feel-good development. The viewer actually enjoys Ashley's redemption.

Narratively, it serves an essential function. While she is ready to overcome the loss of Philip, he never actually undergoes any change. He remains a misanthrope, and his greatest asset is making other people around him miserable.

Once Perry has broken the initial structure, he feels more inclined to play with it, and aided by a third person narrator, he spends time with Ike and his daughter Melanie (Krysten Ritter), emphasizing their relationship.

It gives the film wider scope and allows Perry to constantly shift the narrative and bring in new characters at unexpected moments. It makes for an unexpected journey that somehow keeps the viewer hoping that Phillip will stop being such an unbearable fellow.

That he ultimately fails makes for yet another unique subversion of traditional storytelling. It leaves the viewer with a rather paradoxical feeling. On one end, the viewer is disappointed to see him not change. However, he becomes so detestable (especially after destroying a students' dreams) that the viewer actually feels good to see him so miserable at the end.

Schwartzman is terrific playing Phillip, and the casting decision works wonders. Schwartzman hams up the arrogance without ever going overboard. The fact that other characters tower over him allow for the viewer to detect a potential Napoleon complex that fuels his seeming allergy to others. It is interesting that there is never a moment of true frailty or weakness for the character, and even hints of it ultimately result in Philip berating or putting down someone.

Moss is a terrific counterpoint to Schwartzman in her more measured and introspective manner. She actually says more in her silent glances than he does in his compulsive talking. Pryce also presents a tamer version of Phillip. He can explode into rage at any given moment, but he grows wearier as the film develops. Joséphine de La Baume and Ritter are also terrific in their respective roles as women trying to connect with Phillip and Ike.

The film was shot on 16 mm and the cinematography has a documentary feel, only compounded by the voice-over that seems lifted out of many traditional documentaries. It isn't always pretty to look at, but it further emphasizes a desire to break from narrative convention.

"Listen Up Phillip" is a unique film in its desire for structural innovation. Many will likely come to hate Phillip and grow tired of his behavior, but the film offers an interesting look into failed human connection and the frailty of relationships.