NR | 1h 28m | Action, Drama, Mystery | 2019
I’ve seen my fair share of cinematic trends and storytelling formulas—the wise mentor who bites the dust so his protégé can rise, the obligatory damsel in distress, or the ever-reliable tragic backstory designed to tug at the heartstrings. And, of course, there is the love triangle, a plot device that has tested the patience of audiences for decades.
Having a deep appreciation for classic Westerns, I’ve particularly enjoyed tracking the evolution of the “mysterious stranger” archetype, from “Shane” (1953) to Clint Eastwood’s lone drifters in Sergio Leone’s spaghetti westerns. This trope, when done right, has an undeniable allure.
I came across “Derelict” (2019), an indie mystery with a tantalizingly vague premise: “A mysterious derelict wanders the streets of Los Angeles stealing human souls as investigators try to unravel the true nature of his killings.” I was immediately intrigued. Who, or what, is this enigmatic figure?
Shambling Through the Streets
As he stumbles through the streets of Los Angeles, his gaze is wide-eyed and uncomprehending; it’s as if he’s a newborn seeing the world for the first time. But what exactly is he? A time traveler? An alien? A biblical figure? The film smartly withholds answers, pulling us deeper into its mystery.
As the Derelict prowls the streets, he soon locks onto another homeless-looking man, chasing him into a alley. With a chilling display of unknown power, the Derelict siphons the man’s life force, leaving behind a lifeless husk. It’s a brutal act, yet there’s something almost mechanical about it; the terrible act raises the question of whether he’s a cold-blooded predator or merely following some inexplicable directive.
The case catches the attention of Los Angeles County coroner Richard Melville (John Malone), who is baffled by the sheer impossibility of the deaths. The victims exhibit no signs of conventional trauma—only a complete and inexplicable absence of life. When he voices his concerns, his colleagues wave them off, attributing his paranoia to stress. After all, his home life is far from stable, with his wife Sharon (Daisy Mullen) bedridden by an unnamed mental illness.
But when another body surfaces, bearing the same eerie cause of death, Richard refuses to dismiss the anomalies. As he digs deeper, he uncovers a disturbing connection. The Derelict was once picked up for shoplifting and institutionalized due to paranoid delusions before vanishing without a trace. Now, with the city unaware of the growing menace, Richard finds himself in a desperate race to track him down before the body count rises.
A Solid Effort
For a film with a tight budget, “Derelict” does an admirable job of immersing viewers in its eerie, unpredictable world. Early on, it’s hard to pin down exactly what kind of entity the Derelict is—an avenging force, a misunderstood wanderer, or something far more insidious? Despite his violent outbursts, there are glimpses of confusion, even vulnerability. It seems he isn’t entirely aware of his own nature.The film adds a positive dynamic to the story in Linda Castillo (Anna Lamadrid), a compassionate social worker who crosses paths with the Derelict at a homeless aid office. Their first encounter is awkward; she misreads one of his gestures as something crude. But later, when he is suddenly ambushed by two mysterious stalkers, Linda finds herself unexpectedly drawn into his strange and dangerous existence.
Midway through the movie, the narrative begins weaving together its seemingly disconnected threads, revealing unexpected connections, while still keeping viewers uncertain about how it will all unfold.
Stalbert delivers a nuanced performance, embodying a man who seems as lost in his own mind as he is in the unfamiliar streets of Los Angeles. His countenance is both eerie and sympathetic, capturing the essence of someone with only fractured memories to guide him. Lamadrid also stands out as a social worker driven by compassion, even as she struggles with personal demons, particularly her strained relationship with her younger brother, Victor (Ronnie Alvarez).
One of the film’s strongest aspects is its visual storytelling. Director Marcos Soriano pulls quadruple duty; he writes and directs, as well as handling the film’s cinematography and editing. His camerawork immerses us in the grittiness of L.A.’s underbelly, capturing the desperation of its forgotten inhabitants while enhancing the film’s unsettling tone. As a filmmaker myself, I admire his shots’ compositions.
Ultimately, “Derelict” is a compelling indie effort that blends mystery, action, and heartfelt drama. While it’s rough around the edges, its ambition and atmosphere make it an engaging watch. Just be aware that it doesn’t shy away from violence and strong language.
