WATCH THE TRAILER HERE
First, the Recap:
What is the significance of taking on responsibility? In any format we might see this term applied, there lies the weight of the ensuing results of our efforts that might ultimately define who we really are within and without, setting up the path our ongoing travels in life will lead us down, for good or ill. Yet, when faced with having to assess our position in this existence, are we really ready to comprehend how much that which we do in life might carry over to another side? For an unwitting undertaker (Dustin Teuber), waking up to an unnerving and off-kilter reality causes such a pondering of meaning and identity, perhaps to become a mirror of what and who he is in order to discover the real place he is to take in a world he’s currently left behind.
Next, my Mind:
What I still find so amazingly dynamic about independent cinema is the seemingly endless supply of not just, what this critic feels anyway, the raw, passionate, dedicated, driven talent on display in its community’s ranks with a consistency Hollywood should fear, but also the equally engaging presence of narrative and character-centric efforts that make you THINK, often well outside the box, and not just get entertained. I’ve had the privilege of remaining connected to one such indie film luminary for many years now, and with this newest 10-minute short film project, director/producer/editor Chris Esper, here with staple collaborator in writer/actor Kris Salvi, once more pushes the boundaries of mainstream cinema and provides a deeply, genuinely surrealistic journey that will make you sit back in wonder through its eccentricity and the enigmatic, open-ended interpretations that can be drawn from it.
Following the plight of an undertaker who very quickly finds himself in a whole new realm where anything, anyone, and everything he encounters points to grander truths he must ascertain and apply before ideally managing to get home to some semblance of a more clarified direction for himself, even though it seems those he interacts with have greater knowledge of the situation, and HIM, than he does. The film’s short runtime doesn’t allow much time for lingering or expanding on the effort’s intent, but rather propels the viewer along with quiet, purposeful intensity, challenging you to pay attention and take stock of what we witness in order to then make up our own minds about exactly what is occurring. It’s really the perfection of the film’s delivery in making this a dubious study in intelligently veiled meaning, warping the actuality our lead character experiences, and attempting to determine the sudden revelation the film’s finale alludes to.
Is this an examination of self-identity, causing doubt about who (or where!) our protagonist actually is? Perhaps. Is it a vision of events yet to come as seen through the eyes of those who’ve come before us and how their own paths are effected by our actions, even from beyond the known world? Maybe. Is our intrepid undertaker simply having a waking dream that’s meant to leave its indelible impression upon his being in order to straighten out his priorities and liabilities in life? Could be. Can the uniquely black and white nature of the sphere of influence he is traversing a reminder of things past, or that need to be placed there, to finally be understood, a laying down of an old life for a fresh start? Facing ourselves? A rebirth? A restoration? Possibly. Again, this is the unequivocal magnificence that indie film and its creators choose to put in front of our eyes, deftly illustrating the canvas upon which they form their works of art, and that at minimum for me IS what this film is…art.
Along with cinematographer Colin Munson‘s uniquely apropos black and white motif the film is shot in, an atmospheric, fantastical, sometimes eerie music score from composer Steven Lanning-Cafaro adds another level of haunting mystery to the proceedings. Teuber certainly has his work cut out for him via his role as the undertaker, a man waking to absolute confusion, disorientation, and a decidedly disheveled state of being. His perception of where he is remains just as elusive even with the mysterious domain’s other denizens he meets, all of whom make statements that only strengthen his desperation for things to come into better understanding and focus. When things dawn on him finally, he questions leaving, but is made to acknowledge it is for the best. Throughout this conundrum, Teuber beautifully navigates the demeanor and mindset of chaos his character is confronting with excellently understated, but no less powerful, poise and depth that befits the situation to a “T”.
The primary supporting appearances are made by Justin Thibault, Teddy Pryor, Jen Drummond, Michael Lepore, and Kris Salvi, each providing us with a character that plays into the undertaker’s story, each with specific resolve and design that impacts his story. These performances are also a wonderfully executed lesson in subtlety and nuance without losing the potency of the emotional resonance their moments on screen elicit in the grander narrative’s scope. So, in total, “Undertaker” is a short film that, at first, could cause some to be frustrated by the undeniably creative, admittedly vague arena it dwells within and entreats us to. But, honestly, give it a chance, really WATCH the film, and then allow its exercise in deliberate, hazy ambiguity to carry your mind to another place, potentially surprising yourself with the conclusions you gain awareness of. This IS indie film, folks. Here it roar!
As always, this is all for your consideration and comment. Until next time, thank you for reading!
