WATCH THE TRAILER HERE
First, the Recap:
Walk towards the light. In the final moments of one’s earthly existence, it’s been said by so many who’ve been to the threshold of death and returned, that there’s a tunnel which culminates in a glowing entry–pure, white luminescence. It beckons, it pulls you to come and find rest. It is a confused state that one man named Aaron (Mikeal Burgin) finds himself in as he awakens on the barren ground, though where he has no concept.
Then, with a sudden and blinding reveal, Aaron is awash in light. Shielding his eyes and making every attempt to stare into the blazing radiance, he catches a glimpse of two figures–his wife Dina (Rachel Wells) and daughter Jael (Kaylynn Burgin). Overjoyed at seeing familiar and beloved faces, he goes to them, embracing each with the love as only a husband and father could muster. Yet, even in this moment of peace, reality seems distorted, and a revelatory truth hidden.
Next, my Mind:
In only three and half minutes, director/editor Nick Busch and writer/co-producer/actor Burgin deliver an irrefutably persuasive narrative whose foundational themes of life, death, and the everlasting fortitude of love are compellingly presented so as to impact the viewer with maximum effect. It’s quick and simple, yet carries with it a depth of contemplation and intelligence that honestly belies the film’s short runtime. Additionally, it’s hard to get into further detail or explanation without potentially giving away more about the effort’s premise, and as this reviewer is decidedly operating in a “no spoiler” zone, well, we will leave it at that. The accompanying music score is emotive and very much suited for the well-shot but uncomplicated visual aspects being presented, helping to create the overall, highly emotional tale being weaved before our eyes. Quite plainly, it’s what I love so much about indie cinema–the beauty of simplicity.
Burgin keeps things down-to-earth and straightforward in his role as Aaron, an everyman, a father, a husband whose baffled state of being in trying to ascertain where exactly he is and why is answered ever so clearly and with genuine gravitas tempered by an undying devotion and adoration for the two most precious people in his life. The sentiment is delivered with sincerity by Burgin throughout, making the finale reverberate inside you even more. Wells and Burgin’s own daughter Kaylynn (a star of several of his films lately) both shine here as well, enacting the beckoning call of a wife and child to their steadfast provider and much-desired source of love and acceptance with fervor and calm yet ardent need, again making the film’s endgame more endearing yet heartbreaking.
In total, “Dark Light” should very much be praised for being another wonderful entry into the independent short film world, as it demonstrates yet again the fantastical, stirring, and haunting places it can take us, making us look at our own humanity, those we cherish most, and even perhaps aid us in experiencing a new level of appreciation for so many things we take for granted and would never wish to lose.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
