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Brightwood is a resourceful low-budget independent film that showcases the possibilities that can be achieved with minimal financial resources. With only a concept, a small cast, and a writer-director (Dane Elcar) also taking on camera duties, it serves as a prime example of what can be accomplished. However, it also serves as a reminder of the limitations of this type of filmmaking, as it would be idealistic and inaccurate to suggest that funding has no impact on the final product.
The scene opens with a couple going for a jog in the woods, bickering as they move along. Jen (played by Dana Berger) and Dan (played by Max Woertendyke) have been married for a significant amount of time, and their relationship has deteriorated to the point where they know and dislike each other very well. Jen is listening to a podcast on divorce, while Dan is annoyed that she won’t take out her earbuds to have a conversation. Jen is angry about Dan’s drinking and flirting, and on top of that, he’s dealing with a wicked hangover. Their interactions are full of tension and seem to go in circles, with each round of their argument worsening the existing bruises. As a viewer, you may feel the urge to intervene, but it seems impossible. They are too deeply entrenched in their toxic dynamic to see that they are stuck in a never-ending cycle.
Here’s where the film enters into more surreal territory: Jen and Dan find that there is seemingly no way out of the circular path around a pond in the woods which they’ve been navigating. They keep finding themselves back where they started, quite literally. These kinds of time loops or impossible spaces may be a fairly standard feature of sci-fi, but the dovetailing of the glitch with the psychological landscape of the characters is what lends it a little bit of the heft of something like Luis Buñuel’s The Exterminating Angel.
Regrettably, the portrayal is constrained by the limitations of low-budget film production, requiring the script and two actors to bear the burden of the entire film. While there are no particular flaws in the writing or performances, a film with more resources would have more options. For instance, supporting the actors and dialogue with additional elements such as a captivating performance from a beloved character actor, or incorporating impressive set pieces and production design. However, in this film, we are confined to a single setting, much like the characters, and there are moments where this becomes a test of endurance in an unpleasant way. Nevertheless, this is a clever and resourceful piece of film-making that is likely to lead to greater opportunities for both the cast and crew.
Source: theguardian.com
