Lorenzo Ferro and Lucas Vignale make their directorial debut with The River Train. The film is brimming with vision and artistry, yet it falters at its foundation.
Ferro and Vignale, who co-directed and co-wrote the film, bring different levels of experience to the project. This is Ferro’s first credited feature, while Vignale has made several short films — a pattern I’ve noticed with filmmakers transitioning from shorts to features. They are skilled at telling a complete story in limited runtime, but stretching that skill to feature length can create challenges.
The film’s runtime of an hour and fifteen minutes is incredibly short, just above the feature baseline, and at times this brevity feels like a stretch.
The opening of the film is outstanding, engaging the viewer in unexpected ways — part of what draws you in immediately. While the ending isn’t groundbreaking, it is blissful. The main issue lies with the middle of the script, which feels lighter and less substantial than the strong opening suggests, creating a steeper drop than expected.
Despite this, the duo maintain a largely pitch-perfect pace throughout the film. It may sound counterintuitive, but it’s not the pacing itself that changes — it’s the substance of the script that fluctuates.
The way the filmmakers utilize other storytelling elements elevates the work. They piece together cinematography, score, and performance in a way that gives the film depth beyond the script alone.
Cinematography is a standout factor. The film is shot in a 1.37:1 aspect ratio, the same as Sound of Falling, giving the film a more artistic depth, though not quite reaching the same level. Some shots are exceptional, particularly in the opening, showcasing well-executed framing that complements the film. Other shots, however, feel off-kilter, and the editing occasionally comes across as choppy. This unevenness recurs in sequences that feel like filler, where the visual execution is less disciplined compared to the more substantial scenes.
The score is consistently strong — bold, well-executed, and emotionally supportive. Moments of quiet contrast with louder, dramatic passages that elevate the overall sound design.
Milo Barria, who plays Milo, delivers a solid performance. He shines in the dance sequences, with choreography executed impeccably. His dedication to dance recalls Whiplash, though there is less opportunity for range and depth in the character overall.
In conclusion, The River Train has notable strengths on a technical and artistic level, with some structural shortcomings. The opening is strong, the ending satisfying, but the middle section drags due to lighter content and a lack of narrative weight. Despite these flaws, the film demonstrates careful craft, strong performances, and a visual sensibility that marks a promising debut for Ferro and Vignale.