YOU’LL NEVER FIND ME movie poster | ©2024 Shudder
Rating: Not Rated
Stars: Brendan Rock, Jordan Cowan
Writer: Indianna Bell
Directors: Josiah Allen and Indianna Bell
Distributor: Shudder
Release Date: March 22, 2024 (Shudder)
YOU’LL NEVER FIND ME is well-made, well-shot, and extremely well-acted. Directors Josiah Allen and Indianna Bell, working from Bell’s script, do a first-rate job of putting a lot of visual variety into a film that essentially takes place in one location: the interior of a large mobile home in an Australian trailer park.
Patrick (Brendan Rock) lives alone here. He has an old-fashioned portable radio plugged into the wall. He is examining liquid in a small vial.
We cut to the interior of a car in the midst of a massive rainstorm. Outside the window, we can just make out a female shape beyond.
Then we’re back to Patrick’s mobile home. It’s storming outside here, too, and there’s an insistent knock on the door at 2 AM. After Patrick tries without success to chase whoever it is away, he finally opens up to find a young woman (Jordan Cowan), barefoot and soaked, seeking shelter.
Then the two incrementally open up to one another. Patrick offers the young woman dry clothes, a hot shower and hot food, all of which are met with suspicion. She keeps insisting that she just wants to call a car and get back to where she came from. But bits of her story keep changing.
The dialogue is a bit of the heavy philosophical side but still sounds like what people could actually say to each other in this situation. The problem increasingly becomes that there’s quite a lot of it.
Since YOU’LL NEVER FIND ME is on Shudder, the audience comes in knowing that this won’t turn out to be simply a story of two lonely people connecting. So, is Patrick’s hospitality an act? Or should he be afraid of his visitor?
As it’s clear that the identity of the antagonist is going to be the big reveal, we start getting a bit impatient, especially when we can guess with a fair amount of accuracy what’s happening.
The cinematography is beautiful, courtesy of Maxx Corkindale. Individual shots are made so momentous – the taking of a bowl, the turning of a faucet tap – that we’re not sure what to make of them. Are they meant to be sinister? Funny? Prompts for contemplation of the simple things in life? We roll with it at first, but it starts to feel like a delaying tactic.
YOU’LL NEVER FIND ME is admirable in its can-do-well indie spirit. As a thriller feature, it perhaps seems a bit too much like an anthology segment to be wholly satisfying.
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