The film opens on a picturesque country lane. Marnie (Allie Leonard) lies beside the road in a daze, her ears ringing. She seems confused and lost as we are. In her stupor, she finds her way to a nearby cabin numbered 2-11. April knocks on the door and is surprised to find it unlocked. She enters and surveys the cabin before the door opens once more. She’s surprised to see April (Mackenzie Breeden), her girlfriend, standing in the doorway. They embrace and discuss what’s happened.
Both are unable to explain why they are there until later in the evening: “We’re dead.” The cabin and the surrounding area seem to be in limbo, and neither of the women has to eat, drink, sleep, or excrete. April and Marnie decide to make the most of the time they have, bonding and expressing their love for each other before it’s their time to move on.
Two Dash One One is simplistic to a fault. Patrons looking for a supernatural romance movie will find the supernatural aspects lacking and ham-fisted. When one of them says ‘We’re dead’ barely ten minutes in, the entire plot is laid bare—I mean, we’ve all seen The Good Place, right? April and Marnie are incredibly romantic, but something about their chemistry seems off in the script, making some romantic sequences drag where they could have been compelling.
These complaints aside, the camera work, acting, and small cast make this an impressive film. Those looking for a simplistic and touching lesbian romance will be thrilled to see Two Dash One One. Fans of supernatural romance, however, may be disappointed by this title. If your patrons are tearing through your romance section and need new content, Two Dash One One would make an excellent addition to your film collection. Recommended.
Where does this title belong on public library shelves?
Two Dash One One belongs on romance and LGBTQ+ drama shelves.
What kind of film series could use this film?
Two Dash One One would be right at home in a series about low-budget queer drama.