Eddie Huntly (Alexander Hero) is an East Coast native and talk radio host who moves to the West Coast pursuing his career, marriage, and answers. One day his best friend and fiance's brother, Neil (Deniz Demirer), is found dead in a park. He visits the site in an attempt to commune with the dead man. Staying at his uncle’s house while he settles in, Eddie is introduced to Carmine (Raul Delarosa), a quiet, firm, and intriguing homeless man with a mystery he refuses to reveal.
That same night while trying to walk away his insomnia, Eddie spots Carmine wailing in the dirt where Neil died in some sort of trance. Eddie, now convinced Carmine was responsible for the death of his friend, makes it his new quest to stalk down and confront the homeless man. This quest ambles around San Francisco until Carmine disappears somewhere into the Arizona Desert. Eddie pursues, leaving his fiance, his job, and eventually everything but the shirt on his back behind.
While there were many enjoyable scenes, shots, and lines throughout the film, there were long segments where the visual interest wasn’t there, the story seemed to drag on without moving, and the dialogue was often uninteresting at best. The camera work was shot like Kurosawa one moment and like Ghost Hunters the next: The walking seemed pointless at times and then visually intriguing two scenes later. The story’s treatment of women is stale at best. Beside’s Eddie’s sister, Faye (Alanna Blair), women are mostly portrayed as vapid, airheaded, or unreasonable. A skilled editor could easily turn this into a shorter, thematically constant, and visually stunning masterpiece accessible to more people.
That being said, if you’re looking for a nearly three-hour-long art film, you will probably love Overwhelm the Sky. There were so many moments of genuine cinematic genius and hilarious or poignant lines, interesting staging, and striking images. Visual references, acting, and close-up shots make nods to silent films like The Cabinet of Dr. Caligari and Nosferatu. There’s also obvious noir influence and staging, though the title of “neo-noir” bestowed by some is unsound. Noirs revolve around conspiracy and this film lacked a satisfying overarching mystery.
Instances of intense wit and humanity are scattered among bizarre moments and impenetrable sarcasm. The experimental parts of the film really stand out as well, especially ones in which conversations or situations play out with different characters and many of the dream sequences. Daniel Kremer’s Overwhelm the Sky is a strong optional purchase.