LYLA (2023)

2 stars

Miracle Media. Digital. 21st April

Originally made as a Tubi original, this is something of a one man show. Written and directed by Gordon Cowie, who was also the cinematographer, editor and producer. He probably made the sandwiches too!

It opens strongly then becomes more and more confused as it progresses across its under 90 minute run time. A young boy is playing with his toys on the carpet when he sees his Mum picking up a suitcase – “What’s going on”, he asks. She tells him to trust no one but himself and then promptly kills herself in front of him!

Spin forward 28 years.

Hugh (Clark Moore) is sitting by himself in a cafe, when he is approached by a stranger (Christopher Studenka) who claims they have met before. He seems to know a lot about him. Mysterious…

Hugh is then parked near a phone booth. When the phone rings, he answers an odd call. Later, getting petrol, he is approached by a woman who asks, “do you think you can make me happy?” Then she becomes agitated and runs off. What the hell is going on?

He is taking his wife Lyla (Jolene Andersen) and their young son Lars (Mason Wells) away for a break to a remote location. He tells his wife about the girl approaching him whilst they were sleeping in the car. Hugh is a writer and they have gone away so he can work, away from distractions.

They meet Braxton Campbell, the groundskeeper who looks after the house where they are staying. He is there to sort the rental paperwork. There seem to be tensions between the couple, so he gives Lyla a solo tour of the property and surroundings.

Things soon start to get weird – a later interaction between Hugh and Braxton doesn’t go well.

The problem with the film is that things feel odd, but it is not entirely clear what is going on. The dialogue feels forced at times. Scenes just happen randomly with no sense of cohesion.

What is going on? Is it a dream? A nightmare? Are they in Twin Peaks? Is it a low budget The Shining? This psychological thriller is obtuse to the point of annoying. One saving grace is the great use of light and shadow by Cowie as cinematographer – maybe he should stick to that and leave the writing and directing to somebody else. It also has an interesting and discordant music score by Liento. Don’t expect things to be any clearer by the end!

Steve Kirkham