An intriguing but slightly underdeveloped drama set in the desert
In the enigmatic desert backdrop where Zeshaan Younus starts his paranormal drama The Buildout, Cleric Kanner (Natasha Helevi) is convinced that she and the other church members have discovered their “spiritual hotspot” where they will build their paradise. The film is interspersed with strange visions confirming that something is amiss at this place, but are they from God, or is it some cult delusion?
After the death of her best friend, Dakota, Dylan (Hannah Alline) is set to join Kanner at the church’s base camp as she feels a tragic pull towards the faith and wants to quit her addiction. Dealing with her grief, Dakota’s sister Cameron (Jenna Kanell) walks out with Dylan on what is supposed to be a short trip to drop her off at her new desert home. While supportive of her friend’s healing journey, Cameron cannot help but remain skeptical about her friend’s new faith and the extreme measures it is driving her to take.
Although The Buildout is likely to feature otherworldly and intriguing elements, it is foremost a character-driven drama, and the film is better off for it, especially with Alline and Kanell’s brilliant on-screen chemistry.
Intense emotions of silence fill the mind as we behold the vast shot of the desert, however, this feeling is broken the moment Dylan and Cameron start to have their witty banter on screen.
Sadly, the shots that separate the interaction do not add to the intimacy, rather take the viewer out of it entirely. The lack of emotional interpretation in the scenes where the characters stare off into the void or engage with their surroundings in a dull manner, does needs to change. In these ‘filler’ moments, Dylan and Cameron look no different than stock images of people staring into the horizon.
The film partially gains back its authenticity by integrating camcorder clips. This choice, alongside adding to the atmosphere in spots where it turns unsettling and at times, underscores the characters’ bonding, also serves a purpose as most of the protagonists want to document something everlasting after suffering such a terrible loss.
The tension that builds over time mixes with the supernatural elements within the desert setting, providing a much-needed fuse for igniting the conflict. Having both the motivations and inner workings of the desert to be muddled does remove conflict, yet invites a world of character possibilities.
Some moderation in the storytelling is needed to retain the film’s intriguing aura, but the narrative is rather thin towards the conclusion. I am left wondering why the filmmakers did not delve deeper into Cameron’s struggle with the desert’s overwhelming spiritual pull, and why Dylan’s faith lacked more sophisticated exploration. Why are they so inclined to this denomination?
Nevertheless, the complexity of the narrative falls short. Notwithstanding some stunning visuals and clear artistic intent, the direction does not possess the innovation required to push this emotional feature debut any higher than its soft, self-imposed ceiling. Younus is an emerging filmmaker I will follow, because The Buildout, despite its myriad of weaknesses, has strong foundational elements.
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