“Inbetween”, directed by David Antonelli, is a gripping psychological thriller that artfully interlaces moody introspection with raw intensity. The film, having its world premiere at the British Film Festival of LA, delves into themes of obsession, redemption, and the blurred lines between love and destruction with masterful storytelling. At the heart of it all is the enigmatic Lisii, portrayed by the ever-compelling Sarah Cabrera, whose mesmerizing lead performance anchors the emotional core of the film. The title “Inbetween” itself is a reflection of the characters’ constant struggle between their past and present, their desires and responsibilities, and their love and destruction.
Set against the backdrop of 1993 London, New York, and Tokyo, “Inbetween” follows Jan Markowicz, an American bomb maker who attempts to break free from an underground terrorist network. The film’s narrative structure, which skillfully weaves past and present, creates a haunting tale of tangled loyalties, existential dilemmas, and the search for meaning in a broken world. Jan’s journey begins after his refusal to be part of the Heathrow bombing, and he soon finds himself in the orbit of Lisii and her partner, Martin.
Sarah Cabrera shines as Lisii, bringing to this lead character an ethereal yet deeply rooted presence. Subtle yet striking, Cabrera balances warmth and mystery with effortless grace. Lisii is a dreamer ready to set off to Burma in memory of her father, yet she cannot tear herself from the unstable reality surrounding her. Cabrera’s performance gives the film an extra layer of poetic melancholy, making Lisii a fascinating counterpoint to Jan’s restless turmoil.
On the other hand, Kevin T. Collins gives an equally powerhouse performance as Jan, with his character internally torn between old allegiances and newfound clarity. There’s undeniable chemistry between he and Cabrera; their scenes crackle with unspoken tension and quiet intimacy. David Richter’s Martin, a man teetering on the edge of paranoia, brings another layer of complexity to the trio’s dynamic. At the same time, Michael Chateau’s chilling turn as Luinstra, the terrorist leader, ensures that danger always lurks in the background.
Antonelli steers his film in a dreamlike manner, interspersing moments of stark realism with hallucinatory beauty. This is underscored by the cinematography, alternating between darkly lit interiors and flashes of neon-lit cityscapes. Here, it almost matches the visuals from “The Crying Game” but belongs to itself in voice and style. The music further elevates the hypnotic effect of the film, most effectively in the haunting presence of the mysterious singer, Chrissy Van Dyke.
“Inbetween” is much more than a thriller – it is an insight into the human condition. Sarah Cabrera is again not to be doubted for her excellence in leading roles in independent films. Her magnetic performance proves that, even amidst a dark storyline, there’s still room for redemption and glints of light to peek through. This is one of those films that hangs in your gut long after the credits roll, leaving viewers shaken yet profoundly stirred.
