A multifaceted crisis—one whose devastating consequences linger and whose persistence permeates every community. Gun violence remains a complex and emotionally charged issue. As noted in *American Solitaire*, the United States records an average of 43,000 gun-related deaths per year; 120 people a day—5 people per hour—are killed by others in this country. But we are not mere statistics.
Director Aaron Davidman appears to have deeply internalized the art of portraying the aftermath of war, starkly depicting elements such as Post-Traumatic Stress Disorder (PTSD) and a loss of control in his latest narrative. It is a commendable effort, grounded in a sincere examination of how the world attempts to function under the constant awareness of having a gun in hand—though it lacks certain elements required to stand as a fully realized cinematic work.
Director: Aaron Davidman
Writer: Aaron Davidman
Stars: Joshua Close, Gilbert Owuor, Joanne Kelly
Imagine this: you have before you a fascinating discussion regarding a brutal subject that permeates our modern world—one that will undoubtedly continue to be debated for centuries to come. And Joshua Close, in the role of Slinger, delivers a compelling performance, demonstrating the interpretive weight he has gained following his work in *Killers of the Flower Moon*, *Wayward*, and *Monica*. However, his character functions primarily as a vehicle to channel Davidman’s vision regarding the impact of PTSD and masculinity in our world.
There is no other conflict for the viewer to latch onto to sustain interest, save for brief glimpses of the turmoil he experiences with his son and other family members or friends. A few sparse moments of reflection manage to keep the film afloat—such as the obsessive act of disassembling and reassembling his firearm, or his interactions with Emmett (Jamir Vega). Even so, the film fails to delve deeply enough into what the character needs to resolve in order to become a better person, or into how he might learn from this experience.
Nevertheless, Davidman’s technique here demonstrates great solidity, centering on the dangers and realities inherent in gun ownership. Hana Kitsei’s impeccable work in portraying a man on the verge of collapse proves to be a major success, as does the casting of Gilbert Owour in the role of Auggie and Joanne Kelly as Athena. Furthermore, the narrative pacing never feels heavy; the film flows naturally throughout its 95-minute runtime, underscoring the fact that the production team had a very clear vision of the message they wished to convey. Consequently, Davidman also leaves certain moments open to reflection and debate, adding a subtle and apt touch of ambiguity.
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