Riding the Bullet

In the quiet, mist‑laden towns of New England, a young artist wrestles with the sudden loss of his father while his mother’s health hangs by a thread. The world feels both familiar and oddly off‑kilter, a place where ordinary streets whisper of unseen currents and every shadow seems to hold a secret. The film’s tone drifts between introspective melancholy and a subtle, unsettling unease, inviting the audience to linger on moments that feel both grounded and slightly surreal.

Alan Parker, an art student haunted by the specter of mortality, finds his creative impulses tangled with an obsessive need to understand what lies beyond life’s fragile veneer. His journey, prompted by a desire to be near his ailing mother, becomes a pilgrimage through a landscape populated by strangers whose presence hints at something far larger than ordinary coincidence. The atmospheric backdrop—a blend of autumnal decay, dimly lit diners, and the faint hum of an old amusement park—mirrors Alan’s internal turbulence, making the external world a reflection of his inner doubts.

Along the road, Alan encounters a series of enigmatic figures, the most intriguing of whom is the reclusive George Staub. Staub’s unsettling demeanor and lingering scent of formaldehyde suggest that the boundaries between the living and the dead are thinner than they appear. Their interactions are charged with a quiet, almost palpable tension, hinting at supernatural undercurrents that challenge Alan’s perceptions and force him to confront questions he has long avoided.

The film folds these threads into a meditation on grief, artistic obsession, and the uneasy dance between reality and the unknown. It asks whether the journey toward acceptance is charted by the roads we travel or by the shadows that follow us, leaving viewers with a lingering sense of curiosity about how far Alan will go before the bullet of truth finally finds its mark.

Last Updated: August 10, 2025 at 10:40