This low-budget drama advances a compelling formal irony: it’s shot on a vintage video camera from the 1990s, but its thematic concerns are all about living in the late 2010s. The story begins in early 2018 when a 30-year-old commercial photographer and his novelist girlfriend get stranded somewhere in the American northeast after their car breaks down. A man in his 50s takes them in for the night, gets them drunk, and regales them with stories about his childhood. The situation seems fine, but several unanswered questions hang in the air. Why does the older man own so many outmoded video cameras? Who is the child staying at his house for the night? And why do the man’s soliloquies sound so familiar? Screenwriters James N. Kienitz Wilkins and Robin Schavoir (who also produced the film with director Peter Parlow) tease out other questions from the encounter. The young couple is white, while the older man is Black, and the unaddressed sense of unease that pervades their interaction speaks to larger issues about American race relations in the postmodern era. This may seem relaxed and subdued, but its subtle mysteries will likely stay with you well after it ends.