Filmmaker William Phelps makes a stunning directorial debut with his arthouse-leaning short film, The Return to Why. Shot in a gritty black and white aesthetic that emulates 16mm film, the result is a lo-fi and spirited short. Combining Phelps’ unique vision with a slow-burn approach, The Return to Why is a film that both feels entirely fresh and reminiscent of Jim Jarmusch’s NYC-set Stranger Than Paradise.

Moving Through Grief in Impressive One-Takes

Lyria (Cascina Caradonna) is a non-binary young adult who finds themselves at a crossroads. Plagued with internal grief and longing for connection, Lyria makes a pilgrimage back to their hometown in an attempt to recenter and find peace. Lyria is still dealing with the aftermath of the unexpected death of their younger sister, Iris (Stella Marcus). Even though returning home is difficult, Lyria knows this is the only way to move through the grief and trauma to get to the other side.

While back home, Lyria reconnects with their ex, Casey (Yessenia Rivas), and the two engage in an intense and intimate conversation. The film incorporates many flashbacks during these scenes, filled with heavy dialogue, adding a layered, non-linear element that is quite effective. Soft piano ballads round out the experience, which consists of an impressive one-take shot. To successfully pull off this production hurdle, there is a high demand for a perfect performance from the lead actor. Impressively, each of them delivers, especially Cascina Caradonna, whose on-screen style and performance is mesmerizing.

Takeaway

The Return to Why is the embodiment of a true independent film. With an estimated production budget of only $5,000 and a very sporadic shooting schedule (twice a month over a year), William Phelps has pulled off nothing short of a miracle. This is also a deeply personal project for Phelps, who openly discusses exploring his own PTSD diagnosis through film. He credits the following Nietzsche quote as inspiration for his debut short film: “Throw roses into the abyss and say, ‘Here is my thanks to the monster who didn’t succeed in swallowing me alive.'”