‘A Desert’ Review: Motel Hell

Alex (Kai Lennox), the hero or the atmospheric neo-noir of Joshua Erkman “A Desert”, is a photographer beyond his best moment. His first book, a collection of landscapes that channel the disrespective of the America of the small town, put it on the map 20 years ago, and is now navigating the roads and roads of the Yucca Valley in California, chasing his old gloryy.

It is in the nature of stories that this sacrifice to his hero the relief of an interruption, and arrives, violently, in the form of Renny (Zachary Ray Sherman), a stranger and strange and liquidated Alex is friends with a motel on the road. Renny is clearly bad news, and for about 40 minutes, it seems obvious where “a desert” is going. But Erkman’s script is Slyy Intelligent, and in the second act the film takes an abrupt turn that is really shocking.

The use of Erkman of the marked lighting, high beams that cross the night of the desert, evokes “the lost road”, and there is a “impulse of Mulholland” at the theater of the underworld detailed in the periphery of the story. Lynch is a difficult influence to handle the person in charge, but Erkman keeps him largely under control: “A desert”, if sometimes too ambitious, he certainly feels different.

It is a strange film, but it works and feels punished, because or its cast cast. Both Lennox and Sarah Lind, as Alex’s wife, Sam, are serious and convincing, and musician David Yow, as a private Oddball detective who continues in Alex’s wake, gives the movie Subjiosyncratic Flair. But the highlight is Sherman, whose threatening Renny is really creepy and, when he really goes crazy, electrying.

A desert
Not qualified. Execution time: 1 hour 43 minutes. In theaters.