In Alexander Ulom‘S “It ends“Four friends out of college find themselves on a road, with no exit. Do not let familiarity be foolish. It is the first and the first to be a well-organized style thriller, although the over-grown thrives, gradually some more surprisingly, more surprising, dramatically complicated and highly promising to all young talent.
What is immediately striking how quickly and economically its characters are installed in the Medias Race, appearing that the banquet is a sufficient deviation to create friction through the signs of conversation and individual personality. Behind the wheel, The Graff, soft -spoken toyler (Michelle Cole), back from military training, picks up his three best friends in Cheroki soon after graduation, as an extremely online debate tells whether 50 huxes can be the best a man with a rifle. Dressing later developments, professional upstart James (Finis Yun) tried to include this absurd landscape into a argument puzzle while riding a shotgun. In the backseat, playful fisher (Noah Toth) tries to ensure that the game remains fun, while next to it, the easy day (Akira Jackson), whatever conversation he is presented, really slips into it, as she dapons the debate and its future.
With the camera fixed in the scope of the car, four friends jokingly and jokingly, establish their collective and personal mobility, as this base gradually decreases before we know it. His hangout quickly becomes a horror film, wakes up in a soft-focus mist, whenever he leaves the vehicle, only to find endless forests on both sides and quite terrible, dozens of desperate people in the forest tried to help and steal their car, in scenes where Eri cyllance gives ways to raising hair. The solution of the group, of course, to continue driving, no matter how time it takes, or where this endless road takes them.
For inexplicable reasons for the quartet, fuel, hunger and sleep are not an obstacle, even as soon as they turn to overnight, they are forced to consider every possible landscape–Vigyan-Fi, religious horror, a shared hallway-“it ends” and allows to broke it quickly and dismiss all facilitating clarifications. Through overlapping interaction in tight close-ups, the growth and frustration of the group give way to personal confession as they try to rationalize their circumstances, which simultaneously enhance and deepen their bonds. The drama, despite its improvised uncomfort, is harsh and fine, causing all this to move when the film turns into tone, as there is wrestling between the group and real efforts to really make the light of their position in a future face that seems to be endlessly clear in a future face.
Surprising and delightful, these changes are far from random. Rather, they come out of richly imagined characters and forces the way the situation forces them to develop – and not always for better. The more they discover about the nature of their prediction and the way it affects their senses (after uncertainty after the time period), the more they face the challenge of leaving the vehicle completely – in this process, in this process, one – the other – in favor of an uncertain fortune on the roadside.
Given the age of the people involved, the filmmakers and their attractive dresses are all in their 20s-it is difficult to think that “it ends” in the new forms of consideration and self-confidence as a gateway for young audiences. The whole thing can be seen inherent in the concerns of close friends, which can be forced to separate after college, but even in its terrible delay: can never be allowed to grow up and face the world.
Suddenly axis towards isolation and danger, amidst the enthusiasm of new adulthood, will possibly add familiar feelings of early epidemics, but the film is more than just a linear metaphor. The lack of its answers, as it searches for both its eligible meaning and inspiration, uses a lot of concept of cinema – something with strict rules and easily identifiable objectives in modern avatar – to challenge the perceptions of personal and artistic determination, and tap in the sociological fears buried by the youth. (In particular, despite their network deficiency, the phones of the characters combat the mechanisms in both recreational and badly ways).
Especially for a generation born in uncertainty – political, economic and environment – “it ends” it acts as a clear reflection that realizes that someone’s impulse and someone’s mutual relationships for the first time to peek under the surface of someone. However, the more it exposes those apprehensions, the more they give a way to do something wildly versatile: a film about the community under the most absurd forms of pressure, and how the liberation can only lie in others.
