“5.7 Seconds” is a short thriller/horror film directed by Tim Aslin and Shane Cibella that cleverly plays with the audience’s sense of fear and uncertainty.

This 15-minute short tells an intense story where an unseen threat forces a young woman to take refuge in an abandoned car, leaving her to determine where the true danger lies: inside or out.

The film opens with Jane (Shante Deloach), who is clearly on the run. Her fear is palpable, her breath quickened, and her eyes wide with panic. We don’t know what or who she’s running from, but whatever it is, it’s terrifying enough to send her scrambling into the nearest available shelter which is an abandoned car.

Inside the car, Jane discovers she is not alone. Erik (Henry Hetz) is already there apparently also seeking refuge. The car, which at first glance seemed like a safe escape from whatever is outside is not an unsafe space for two strangers.

The confined space of the car is used brilliantly in the film’s cinematography, enhancing the feelings of isolation and vulnerability. The characters and also the viewers, feel genuinely trapped. Even though the car is supposed to be a safe place against the dangers outside, it never feels entirely safe.

Deloach’s portrayal of Jane is hauntingly effective. When she first enters the car, her fear is raw and unfiltered. She’s clearly running for her life, and the random, abandoned car feels like her only hope of survival. But despite her terror, Jane is still able to apply some reasoning as she tries to figure out what Erik is also doing in the car. The interaction between these two strangers, both seeking safety, begins innocently enough but quickly escalates. The tension between them becomes almost unbearable as Erik’s behaviour shifts from fear to threat. Hetz’s performance as Erik is chilling, and as his demeanour changes, the audience begins to question whether Jane is truly safer inside the car or out.

As the film progresses, the writing and direction cleverly play with the audience’s expectations. We see shadows lurking outside the car, hear eerie sounds, and are led to believe there might be a monstrous entity lurking and waiting to pounce on Jane and Erik. The car’s windows are covered in some yellowish tint resembling some sort of mist.

The idea of an external threat is sold convincingly, keeping the audience on edge, but the real danger might be closer to Jane than she or we the audience initially think.

In the third act, “5.7 Seconds” delivers a surprising reveal that flips the narrative on its head. What initially seemed like a psychological thriller involving an unknown danger turns into something far more sinister. An encounter with a stalker with predatory intentions. This revelation is handled so subtly that it could be easily missed by some viewers, yet it’s a game-changer for those paying close attention.

The film hints that Jane might have been running from a stalker all along, possibly in broad daylight, in what could be the parking lot of a shopping mall. This twist shifts the film’s tone and forces the audience to reconsider everything they’ve seen. Suddenly, the car isn’t just a place of refuge from some unseen force it now becomes a trap set by a predator. The final moments of the film leave viewers with more questions than answers: How is Erik connected to Jane’s situation? Why did Jane choose to run into this abandoned car instead of seeking help from the many people who might have been around?

Also, even though the reveal that sort of explains the film’s title is also brilliant it does not seem convincing or justifiable as the title for a story like this.

“5.7 Seconds” even as a short, is a film that stays with you long after the credits roll. It’s a cleverly constructed thriller that plays with themes of fear, vulnerability, and the often blurred line between safety and danger.
The film’s ambiguity, particularly in its surprising reveal, invites multiple interpretations and discussions, making it a must-watch for fans of psychological thrillers and horror alike.

Rating – 3.5/5