It Ends

This was… kind of incredible? What an outstanding debut feature from Alexander Ullom, especially for it being made for only like $50k?? This deserves to be in the same conversation as stuff like Obsession and Backrooms. I understand why it maybe isn’t, it’s not nearly as widely available and probably doesn’t have the same mass appeal - not that those two movies are completely commercial, or that this one is completely avant garde and unapproachable or whatever, but it is a more understated, subdued, almost wistful in its approach in a way that doesn’t readily produce the same satisfying, traditional movie moments like the other two. Those movies might be doing some things better than this one, but this really felt way more my speed. Stylistically, it feels so assured and intentional. In terms of characterization, it comes off natural, grounded in dialogue and behavior that feels familiar and real. Its premise is incredibly straightforward, but within that focused narrative framework it creates room for itself to sow seeds of complexity in thematic and emotional notes. It taps into a kind of existential doom particularly experienced by the generation portrayed in the film and the generation making the film (and the generation watching the film, in my case), through feeling, mood and style rather than overwrought story/plot concerns. It renders the dread, uncertainty, confusion, regret, bizarre comedy, even just the Sisyphean “keep on keeping on” of the unexplainable limbo that is modern early adult life in a perfect conceptual capsule of cosmic, philosophical horror. I don’t know if this makes sense at all but it felt like the layer of metaphysical that’s presented is always known, by the film and by its characters, allowing the film to continually move without needing to explain or rationalize itself. The film patiently lets its characters investigate and sit with the nature of their predicament while letting the viewer think about what’s to be gleaned from it all. There’s a lot to chew on, for something so seemingly gaunt. It’s also tonally really well packaged, jumping from tense to pensive to funny and playful with ease. The sound design is really well done too, matched by a bare yet highly evocative score. The images are well realized (I love seeing trees envelope everything and endless asphalt speed by), even if at times capped by simplicity or budget constraints (even within the simplicity there’s some interesting stuff going on with lighting, aspect ratio and grain!). It asks more questions than it does provide answers, which is probably where it will lose viewers looking for a more satisfying summation of everything (spoiler alert for Life™ - that’s not really how things play out!). Maybe it doesn’t do everything it sets out to perfectly, or in the most refined, well stated manner but man, this is the kind of stuff I love and want to see more of. I’m glad Neon picked this up and is putting it in theaters after Letterboxd highlighted it in their video rental store a while ago (the story of how it all came together is crazy, you can hear it hilariously told by an out of breath Ullom here). Hopefully it takes off and we get more cool stuff from Alexander Ullom soon. We’ll see how it evolves in my mind with time but right now this is up there for me as one of the best of the year so far.