Writer/director Anmol Mishra’s Death begins with a suicidal woman in a bloody bathtub. From that opening scene, it’s clear we’re in for a wild ride, and boy, are we ever. David Lynch is the obvious influence on Mishra’s film, from the fragmented narrative to the frequent dream-like sequences, to even the color theory at play. While the film is a mixed bag, it still manages to do a lot of interesting things on an incredibly restrained budget.

The suicidal woman introduced in the opening is Sabrina, played by Marigold Pazar.  After that first riveting sequence, the rest of the film weaves in and out of Sabrina’s memories.  More specifically, we’re treated to several flashbacks involving Sabrina’s boyfriend, Romeo (David Hecimovic) and her friends, Wendy (Lauren Johnson) and the cigar-smoking Mazza (Oliver James Damian). If anything, Romeo comes across like a smooth-talking comedic character, and as for Mazza, there’s a real absurdist quality to his character. As we’re treated to more and more flashbacks, however, the relationships Sabrina has with these characters, flaws and all, become more and more defined. It all leads to Sabrina’s suicide attempt. Again, this is very much a non-linear film, one that requires a lot of patience and likely won’t be for everyone.

Mishra filmed this feature at an old house he rented and lived in in Australia. He apparently spent more time on the set and art designs than the casting. That certainly comes through. To be clear, none of the acting in this is bad. Pazar especially makes a good lead. However, more than anything, the visuals stand out, and it’s again where this feels like a Lynchian film. For example, there’s one scene where a strange blue glow emanates near a living room window. Mishra certainly knows how to use color theory to affect mood, and it makes certain sequences feel all the more disorienting and unnerving. I continually wondered what he could do with a bigger budget, and I hope one day we get to see. He certainly has quite a visual eye.

Additionally, the sound design is effective. Typical, everyday noises somehow become quite unsettling. This includes an alarm beeping and other domestic sounds. The feature truly turns the familiar into the uncanny. This is ramped up via Sabrina’s increasing paranoia. She’s convinced an intruder stalks her, and it’s unclear if it’s all imagined or actually happening. The line between reality and fantasy blurs here.

That said, the disjointed sequences and highly experimental, avant-garde style can be tough to sit through. If not for the arresting visuals, I would have had a difficult time making it to the credits. As stated, Death certainly isn’t for everyone and it’s quite a mixed bag overall. Still, the feature does a lot with a minuscule budget and tries its best to imitate David Lynch.