This is an exceedingly simple, straightforward comedy, which follows the rise-and-fall genre faithfully from start to finish. The only story difference between "Benjamin Flower" and The Hudsucker Proxy, Goodfellas, or Boogie Nights is a choice of props.

What makes this film remarkable, ultimately, is the performance of the lead actor. The subtlety of his comic timing is as amazing as it seems effortless.

Watch the film again and pay attention to the details of his facial expressions; to the way he's always pushing his glasses back up to the bridge of his nose, for instance, What could be a very stagey and overobvious bit of business is so well integrated into the performance that it passes by almost unnoticed, and yet becomes essential to his characterization on a nearly subconscious level.

Meg deserves credit for more than just finding this guy and putting him in front of the camera. Though actors this talented are extremely rare, performances of this caliber are wasted in scores of student films for every one in which the director is actually paying attention. 

A director who's involved with the acting of his or her actors is able to underline and emphasize their performance with camerawork and editing, building a film around it. 

In "Benjamin Flower" the camera's always in the right place at the right time. Probably half the running time of the film is spent in close-ups on the main character, and the story is told through his face. 

The resulting film is rich and engaging, where it could be just another stupid comedy about a guy with a plastic flower on his head.