Lyla Review

In Lyla, there’s a lot happening between the lines for writer Hugh (Clark Moore) and even more inexplicable situations for his wife Lyla (Jolene Anderson) whilst away on vacation at a house by the lake with their adolescent, mute son, Lars (Mason Wells).

Hoping to escape city life distractions, Hugh sets up his typewriter ready to write whatever it is that comes to mind. Former professional ballet dancer Lyla is progressively sensing something is adverse to her husband’s attitude and well being. He’s up and about all hours of the night whilst becoming excessively aggressive for no apparent reason, besides general writers block frustrations.

Isolation and cold weather elements keep surroundings damp or misty, helping significant trepidation, particularly when the seemingly friendly groundskeeper pays a visit to the couple before mysteriously disappearing after an altercation with Hugh.

I don’t say this lightly, but there’s strong (late director) David Lynch vibes prominent throughout.
From phantom phone calls, to potential hallucinations, to unnerving sounds in the distance or within close vicinity, with gloriously long-still-motion shots, to a musical score of unbalanced trembling static and humming tones alongside harmonic strings composed by Andres Acosta, contribute to an odd, interesting indie.

The cryptic nature of dramatics held my attention throughout.

Some people just look sexy smoking a cigarette, sitting in a bath, a’la Jolene Anderson. The rusty short hair, strong jaw assists in a frightfully potent performance. Changes in mood as protective mum and resistive wife are out of sight acting moments, dealing with her unhinged husband, or is he.

Amongst select traumatic moments, there’s a couple concerning children so beware and keep in mind an unnamed minor character Hugh meets near the start, a beautiful stranger played by lovely Chloe Farnworth, of Maxxxine (2024)