Midlands Review - Breakdown
By midlandsmovies, Oct 18 2018 07:58PM
Midlands Review - Breakdown
Directed by Michael Ellis
“You just spent last night in a police station”.
And so says one of two male characters in a car as they drive through the countryside and come across a stranded woman attempting to get a phone signal as she stands next to a broken-down vehicle.
This is the set up of new Midlands film Breakdown from Michael Ellis and from the outset we get the impression that something very dark could be on the horizon involving this naughty duo.
Despite these shady themes the film is shot in stark daylight – throwing a bit of oddness into what could have been a potentially clichéd picking up a stranger on the road dynamic – but the quirky performances help to sell the unpleasant awkwardness as it plays out.
As the men stop to "help", they explain how their phones cannot be used to call for assistance (battery’s dead, left at home) and how they also know nothing of how to fix cars. This sets a tone of jet black comedy amongst what started as a seedy set up to the film.
Whilst the man who spent the night in the cells (Paul Findlay as “Passenger”) spins a yarn about his kindly offer of a lift, the second man’s worried brow (Dominic Thompson) is shown in close-up – hinting upon a repulsive inevitability he may have seen before. Offering to take her to a nearby garage, she reluctantly agrees to get into their car and the men and their new passenger drive off down the road together as we await their fate.
But director Ellis jumps 6 minutes before the story starts in an ingenious flashback which turns the tale upon its head. Without spoiling too much, the lady in distress (admirably played by Tenisha White) may not be as unaware as the first half of the short makes her out to be. We also get to see her character become less victim and more intimidator with an hilarious delivery of “piss off” which had me laughing despite the more pressing serious matters.
A fantastic short that handles its different tones with expertise, the twist in narrative during the middle section completely changes the direction of the story. As we are given new information we are suddenly thrust into a more complex dilemma which is surprising yet satisfying. Paul Findlay in particular as a man with obnoxious intentions gives a believable yet frightening turn, with his staring eyes and superb deadpan delivery of the lies his character spins.
With the right balance of story and plot twists and a trio of great acting turns in the film's brief 7-minutes, Michael Ellis has delivered a great short film that I hope not only does well on the festival circuit but brings more attention to this exciting filmmaker.
Follow Michael and find out more about his film projects at his Twitter page: https://twitter.com/MEFilmsUK