Under Glass (2024)

-Written by Kyle Bain.

A rideshare driver (Mitchell Brinkley III) picks up clients, drives them to their destination, and drops them off. Each passenger has a different story. Some are filled with emotional turbulence; others are verbally aggressive. However, when a mysterious passenger seems to know something about the driver that she shouldn’t, his day becomes daunting. Under Glass is a character study of the most unique individuals. 

The audio in Under Glass is atrocious. The film would be better titled “Under Water,” as the audio often sounds muffled, almost inaudible—making it challenging to follow the narrative (sometimes even to remain present in it). 

Similarly, Director Jay McLendon makes some interesting choices regarding the lighting and color aesthetic. I have no qualms with the decision to film in black and white. I’m not one of those individuals who feels that black-and-white films aren’t valid in this day and age. If for no other reason, filming in black and white saves money—a necessary sacrifice when you’re budgetarily constrained. What is frustrating, however, is the fact that McLendon chooses to include some color in his film. A hat, a shirt, a bronze hue off in the distance—there are multiple instances in which color cuts through the simplicity of the black and white. The colors distract from everything else that’s going on. I stared at the aggressive colors, trying to figure out their purpose—and I never got an answer. In short: Under Glass possesses some interesting audio and visual components that only hinder the film and take viewers out of it. 

On the flip side, however, Under Glass employs a series of wonderfully immersive cinematographic techniques that force viewers to get up close and personal with the variety of characters present in the film. While the cinematography is similarly aggressive to some of the other aspects of the film, this manages to be appealing. It’s necessary for viewers to experience a level of discomfort, allowing them to sympathize with the characters on screen, and the extreme close-ups make that possible. 

Additionally, the entirety of the film is raw, stripped down to the bare minimum. This reality makes the film more accessible. For the most part, McLendon doesn’t attempt to develop the film beyond its budget, but rather focuses his energy on developing a film that speaks to its viewers. While there are certainly some flaws, it’s clear that McLendon’s passion is present in Under Glass. 

Simplicity can be your friend when developing a film, or it can be your enemy, hindering a production from start to finish. Under Glass allows its simplicity to be charming, pulling viewers into the film from the start. Issues with audio and visuals are what make Under Glass challenging to watch—as it was often massively difficult to hear the dialogue or to understand the random inclusion of color. Under Glass can be too cryptic and challenging to follow, but I’m not sure that I hate McLendon’s decision to develop his film in this way. All in all, while Under Glass suffers from some budgetary constraints and some less-than-ideal decision-making, the film manages to retain a level of charm that resonates with viewers and keeps them engaged. 

Directed by Jay McLendon. 

Written by Colin Wilson & Jay McLendon. 

Starring Mitchell Brinkley III, Latrice Davis, Kyler Brown, Liam Kelly, Will Grammer, Derrick Barrett, etc. 

6.5/10 = WATCH IT FOR FREE