It felt like I was watching something I really shouldn’t be, which if that was Sayef Zaman and Director of Photography Imran Khan’s intention then they succeeded.
A road to nowhere movie#
It reminded me a little of what you would expect a snuff movie to look like or that of Wes Craven’s seminal The Last House On The Left from 1972.
There are no stable shots from using a dolly, gimbal, or Steadicam, and the grading seems rather raw. We never hear her replies, only his voice, and we never see him either, we just see her going about her day, obviously after things have come to a head with the man we hear throughout.įor me, a Road To Nowhere has a very mid-70s style to it, in terms of how it is shot. The man seems to be desperate to gain the woman’s forgiveness first, as he begs for her to talk, but then, as the film continues, he starts to become ever more abusive with name-calling and threats. All the while, we listen to a disturbing voice-over provided by actor Thomas J O’Brien. This is followed by shots of her in a diner, walking down a woodland path, by some playground equipment, in a house, and through a graveyard. After depositing the load she was carrying, she returns to her car, and we get to see her driving around a rather picturesque small town in the USA. Opening up on a shot of a car pulling into a parking lot overrun with pigeons, a woman (Kellianne O’Connor) carries some black trash bags to a recycling bin. We do get bits of information from the visuals and narration, but it’s not all offered on a plate to us, so to speak. I believe Sayef Zaman’s short film A Road To Nowhere falls into the latter category. Some are confusing, and some manage to relay the right amount of information so the viewer can understand what is going on, while a few do leave just enough hints regarding the plot but are ambiguous to a degree so we can make our own minds up about what we have just witnessed. A woman seemingly tries to escape from an abusive relationship in the experimental and psychological short film A Road To Nowhere by Sayef Zaman.Įxperimental films aren’t uncommon, and we at Screen Critix have seen our fair share of them over the years.
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