What is filmmaking without a level of low-budget ingenuity? It’s the basis on which the creativity for the big stuff is built; without artists getting their hands dirty and working with constraints others couldn’t dream of, the art fades away. Self Driver is an inspiring example of shoestring-budget storytelling and visual variety, in spite of some issues that were, unfortunately, unavoidable.
The film opens (and ends) on a note of familiarity, framing the story with a clasp on either end that, while somewhat neat, doesn’t do much for memorability. Thankfully, it quickly unfolds into a series of positively unusual visuals that completely ignore the lack of depth technically within them, working to make up for it with lively cuts and obtuse angles. This feeling (and effort) comes and goes, but there’s always a little something to hang onto, even when it feels like the budget is catching up in a bad way.
Kudos to writer/director Michael Pierro for that, and even more so for managing to pace the film quite well despite it taking place entirely behind the wheel of the main character’s car. Dubbed “D” and played by Nathanael Chadwick, he’s an out-of-luck cab driver who tries to turn things around by taking on a new gig as a driver on an app that promises the funds he needs. As expected, things go haywire, and our driver is exposed to a seedy societal underbelly that he didn’t know existed.
Chadwick puts in a serviceable performance as the lead that gets stronger as the conflict progresses. His supporters, who hop in and out of his backseat, progress from workable to hard to watch. There’s a stretch towards the middle of the film that becomes a particular drag almost solely due to the passenger he’s hauling around by that point.
The film ends up feeling like a carpool karaoke session, only without the music, and with criminals in place of celebrities. The formula is really quite interesting, and again, bold for a full-length feature. It’s that undying sense of guerilla dedication that carries this thing home, regardless of whether or not you personally manage to stick it out the whole way through.
Because as good as some of the things this film floats up into the aether are, it still succumbs to that aforementioned, budget-built ceiling to a certain extent. It’s a fun, worthy first watch; one that puts a deserved spotlight on the careers of those involved as they navigate what is arguably the deepest, most complex landscape on any level of the entertainment industry. Beyond that though, there isn’t much here that would warrant a deeper look unless one is especially connected to a certain cog in the greater machine.
Not that every film has to have that, but it certainly helps to watch something once and have a desire, or be given a reason, to go back to it. Whether or not that was intended to be present in this film, or any film for that matter, it assists the staying power of the final product. Every project could use that, and Self Driver is no exception.
Still, if you’re working your way through the Fantasia lineup this year, there’s no reason not to give this one a look. It’s an impassioned effort from all ends; a strong example of filmmaking on the fly, in the face of budget restraints and lack of locations. It’s experimental, interesting enough, and earns its flowers. Whether or not Michael Pierro ends up making something on a larger scale or sticking to the small scene, he’s earned an attentive set of eyes going forward, and if you give Self Driver a shot, you may find yourself in the same camp.
Self Driver had its North American Premiere in the Septentrion Shadows section of the 2024 Fantasia International Film Festival.
Director: Michael Pierro
Writer: Michael Pierro
Rated: NR
Runtime: 90m
Whether or not Michael Pierro ends up making something on a larger scale or sticking to the small scene, he’s earned an attentive set of eyes going forward, and if you give Self Driver a shot, you may find yourself in the same camp.
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GVN Rating
Movies, long drives, and mint chocolate chip ice cream.
