WATCH THE TRAILER HERE
First, the Recap:
The bane of history and a past that plagues you. Sounds utterly unpleasant, sadly representing a truth for those whose involvement in less-than-amicable circumstances might find themselves confronting in the wake of their actions. However, when those acts only perpetuate further decisions that culminate in ongoing chaos and misguided thinking, the results still remain the same–an equally messy end. Or does it? An old, derelict building on the Hudson River has caught the attention of developer Donnie (Joshua Diolosa) and the highly hesitant architects he brings along to show off his business vision to, Landry (Thomas J. O’Brien) and Kellie (Sabrina Ahmed). As the trio explores, still-unsure but slowly growing success-driven thoughts get upended by utter terror when the edifice’s shadowy bygones become real once more.
Next, my Mind:
Lately it seems I’ve been referring back to many of the grander notions I tend to express when it comes to the cornerstone facets of indie cinema that MAKE it worthy to watch, not only for its ongoing measures of overall fresh, unique, bold storytelling and character-driven elements, but also for the sheer sake of illustrating many a time that just because the budget is LESS doesn’t mean the end result is POOR, though as one would expect across any entertainment medium at any level, there ARE exceptions. However, with this 2017-shot, just over five-and-a-half-minute short film from director/editor Christopher Picone, writer/producer Robert Dibella, writer/executive producer Darren Wallach, producer James Abbott, executive producer Richard Wallach, and executive producer/composer Jason Wallach, visual simplicity and uncomplicated delivery of its narrative clearly and distinctly define the aforementioned parameters of the genre to a “T” while providing as a solidly delivered horror/thriller.
Relying on conjecture and expediently paced build-up for its intended effect/impact as much as straight-up and conspicuous imagery, the overtly truncated runtime of the film gives the narrative little time to dilly dally while expounding on a tale that sees three individuals looking to score a possible goldmine real estate deal finding out the hard way that what’s been dormant and undisturbed for a LONG time—should REMAIN so. Period. Truthfully, there’s just not that much more to it than that. Yet, based on what we are witness to and the initial preface we’re privy to during the film’s starting point, it really doesn’t NEED any more explanation or story backdrop that ultimately aims to initiate an atmosphere of dread and foreboding. Now, when it comes TO that very end within the horror/thriller realms, this critic very much leans towards the psychological/ominously creepy side of things as opposed to the “buckets of blood” approach.
And perhaps this aspect of things is where I found myself wishing the film WAS a little longer in order to be–forgive the upcoming wording in the context of the film’s stylings–fleshed out and have more of an opportunity to manifest that eeriness and degree of more veiled, as-0f-yet-revealed source of menace that makes your hairs stand on end, chills run down your spine, and even elicit fidgeting in your seat. But, given its abbreviated format, the film IS still effective at showcasing these elements in more expedited fashion, and very much utilizes another filmmaking technique I personally love for this kind of story–the more “what is unseen or only BRIEFLY seen” with a smattering of blatant shock factor rather than all-out mayhem visually. Plus, it is an exploration of the concept of locations with a dark history carrying with them through time the lingering evil specters of what once was that is now stirred up, rising up against those who would dare tread upon the grounds. It works, even if a staple factor in so many horror/thriller efforts.
What I likewise enjoy about indie film is that, regardless of what style of film we’re talking, there tends to be SOME magnitude of relatability characters exude that aids in engaging you with the narrative, and I found that to be the case here, first with O’Brien via his role as Landry, part of an architectural duo being brought to the building site to assess its potential for a developer who sees dollar signs. Yet, even as Landry and his partner get more immersed in touring the currently abandoned locale, Landry’s inquisitiveness about a sordid history associated with it begins to turn towards genuine pause once the greater feeling of the interior starts the heebie jeebies flowing for him. Initially absconding from the group, it will soon become more than apparent his doubts may have HIGHLY legit reasons for existing. It’s an intentionally understated performance with moments of emotional volatility that perfectly befit Landry’s character and demeanor, with O’Brien infusing the apropos amounts of controlled energy to make it all credible.
Ahmed is also along the same tangent via her role as Kellie, the other half of the building design pair who seems a lot more attune to the developer’s ideas of money to be made mentality that her partner’s lack of enthusiasm. However, it could be a definitively short timespan before her entire outlook will be–altered–quite drastically. Ahmed navigates her character’s care-free manner with a quiet fervor that then transforms into a more frenetic fear-driven attitude that the actress performs well. Diolosa rounds out the primary cast via his turn as Donnie, a fully confident, bravado-filled real estate developer who has quite a grand plan for the old building, not truly heeding any of the warning signs before or during their visit, which may be his final deal made. It’s the cavalier attitude that Diolosa does so well at providing the character with, and it only makes Donnie’s prospective run-in with dire consequences both almost entertainingly predictable and yet fully plausible and affecting for what the situation is, a credit to the actor’s efforts.
The primary supporting appearance is made by Darren Wallach, and we shall just leave it at that, as otherwise we shall venture into the most unforgiving and should always be avoided land of Spoilerville. So, in total, with its ode to traditional horror elements and a finale that certainly implants the “WHY do people INSIST on going where they SHOULDN’T” idea, “The Confined” stands as a well-executed little horror/thriller that could and should reinforce the portrait of the heart and soul that resides within indie filmmakers to go with their vision, MAKE IT HAPPEN, and find the unwavering willingness to put it out there for the world to see. Folks, this is the ART of filmmaking and the people who choose to KEEP that creative, artistic spirit alive. Bravo, guys, bravo.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
