Breakdown

A conversation in the wilderness leads to a realisation about loss and the nature of love.

In writer/director, Hon Hoang’s short film, Breakdown we meet a couple who have come to a standstill upon the path they have been travelling. Their car has given up the ghost as they traverse the desert landscape, and it is in doubt as to whether they will ever reach their destination together or not. Having been given no names throughout the dialogue and referred to only as Him (Lim) and Her (Lin) in the credits, the couple are the obvious archetype of two lovers on a journey, with their characters kept purposefully vague so that the universality of their words and their situation can be expressed.

Breakdown begins with Him at the wheel, telling Her about his dreams. She responds and somehow manifests next to him in the passenger seat, taking control and guiding the conversation into ethereal realms. The haunting score from Dash Lunde keeps things dreamy and otherworldly as the couple continue their conversation, and we find out that all the wishes and hopes from Him relate to a Her who is already gone.

The cinematography from Alexander Nikishin also plays a major part in keeping the film dream-like, with the background wilderness mostly kept out of focus while we close in on the faces and bodies of the two loves. Their movements are slow and flowing, and the camera lingers painfully on what seem to be memories, as the words are voiced over their images without the need for spoken dialogue. Hoang’s direction keeps everything tied to his vision for the film and we are left in no doubt that what we are witnessing is an arthouse performance.

At only seven minutes, Breakdown plays like a ‘revelation’ scene from a bigger film, where the main character loses themselves in the wilderness for a while only to come to the realisation they need to push themselves forward towards the climax and denouement of their story. It is only by facing the ghosts of the past that they can be let go and the future allowed to come into existence. However, in the absence of a bigger narrative surrounding the scenario in Breakdown, what we get sometimes feels more like that of watching an extended perfume advert.

There is such an emphasis in Breakdown on the otherworldly, that it can be difficult to connect with the message being shared. The dialogue is purposefully flowery and existentially distant, matching with the visuals and the score to ensure that a conventional narrative is never found. There is absolutely truth and beauty in what is being expressed between Him and Her, and the theme of loss will likely resonate with those who have endured similar situations, but without an explicit thread to attach oneself to the words can fall on deaf ears.

Hon Hoang should be congratulated for his dedication to vision and for the visual result he has achieved. Taking a trip out into the wilderness to talk about love, even lost love, is a very soothing and mindful thing to do. There’s a lot to like in this short film, and the break you get while you’re there is well worth it, but the question is whether there’s enough to keep most viewers interested, and enough that’s not been dreamed up in another desert sometime before.