Tommy O’Reilly plays River Miller, a self-centered, egotistic, disturbed and selfish aspiring actor, obsessed with his career. With a lot of aspirations, he moves to Hollywood, trying to boost his acting career, and in the middle of his artistic journey, stays with an eccentric couple, that feeds his delusions and desires to make it to the mainstream.
This movie is beyond excellence. Brilliantly executed, it takes you on into a troubled journey of a troubled mind, and every detail, every scene, every sentence said by a character juxtaposes the feelings behind River’s ulterior motives, so a lot of things in the movie are more grounded in personal interpretation rather than understanding a conventional storyline, since there is not a “story” here, not at least, in the general sense; all that we see are visual projections from the psychological set of the main character’s dark descent into insanity, as well as its consequences, which reveals him to be on the verge of a total mental breakdown. The only thing in the movie near something “concrete” is the trace of a terrible trauma the main character may have suffered in a previous relationship, implying the possibility that a girlfriend or fiancé, somewhere in his past, may have died, which could be the source of him being near a mental collapse, since he is hardly able to overcome his problems.
Certainly destined to become a cult classic, or to generate an entire genre by its own, Windsor Drive – with its majestic surrealism, daring and bold artistic expression, deep and dramatic performances, tense moments, achieving an underground strain of originality, mastering the use of classical devices, and yet having the ability to be innovative at the same time – certainly deserves a five stars rate. And I wish Natalie Bible’ a very long, successful and prolific career, that is for sure!