Plan B (2026)

-Written by Kyle Bain. 

2026 AUSTIN FILM FESTIVAL REVIEW!

Baby on the way and a life not headed in the direction that he’d hoped, low-level drug dealer Revis (Maximilian Civita) kidnaps a man. When his plan doesn’t work, however, he must resort to Plan B—and as chaos ensues, the impossible becomes possible. 

Plan B, in the best ways, is reminiscent of a Darren Aronofsky production. Full of gratuitous violence, teeming with vibrant visuals, and led by an eccentric character that attempts to blur the lines between morally good and morally bad, this short film attracts viewers by doing what has been proven to work in the past. Director Niccola Civita is masterful in his direction, allowing the characters—who only have a short time to develop—to be fully realized and understood by the audience. 

The chaotic, slightly absurd nature of Plan B is an early invitation into the film—and a constant reminder that, while life doesn’t always go according to plan, there’s always the potential for something tantalizing just around the corner. Plan B remains just slightly elevated beyond what might typically be considered normal, and that minor, intentional disconnect keeps viewers engaged and aroused. 

It’s kismet that the topic of conversation today in my 9th-grade English class was conflict—a concept that was foreign to some, but ultimately an enjoyable conversation was had as we mulled over the idea of what forms conflict can take in literature, film, etc. Plan B incorporates a series of conflicts that become intertwined, propel the film forward, and continue to entertain viewers throughout its entirety. Character vs. Character, Character vs. Self, and Character vs. Society play pivotal roles in developing Plan B, allowing it to remain accessible and push forward the narrative. While I got a bit off topic, I suppose this leads me to the fact that Plan B’s variety of conflict allows it to remain fresh throughout, rather than becoming stagnant and boring. Frequent shifts in the narrative subvert expectations, adding some unexpected depth to a film that didn’t necessarily need it, but certainly benefitted from it. 

Finally, it’s important to mention the performances of everyone involved, particularly Civita and Estefania Giraldo (Anna). The two lean heavily into the absurdity of Plan B, an absurdity that is meant to consume these characters and make them part of the proverbial circus. Their commitment, their willingness to believe in this product and participate in its absurdities, is a testament to their acting. They shine brightly throughout the entirety of Plan B as a result of each of those aforementioned qualities, adding another successful element into the fold. 

While Plan B is a wildly absurd comedy that sometimes reaches beyond the standards of normality or even believability, it ultimately grounds itself enough to remain accessible. The fun, exaggerated approach leans into the world of Aronofsky, a well-respected filmmaker, expressing to viewers that this team has a vision, is aware of their inspirations, and, most importantly, has the ability to create something both familiar yet truly its own. A series of tonal shifts and powerful performances ultimately reign in Plan B—providing viewers with something enticing and engaging. 

Directed by Niccola Civita. 

Written by Francesco Civita & Maximilian Civita. 

Starring Maximilian Civita, Estefania Giraldo, Peter DiMaggion, & Fred Robbins. 

7.5/10 = WORTH RENTING OR BUYING