Short Film Review: ‘The Wanderer’ – The Gift of Death and the Curse of Eternal Life, Which Would You Choose?

‘The Wanderer‘ is a deeply contemplative and atmospheric short film directed by Michael Lavine. At its core, the film is a two-character philosophical duel set against the stark silence of a desolate meadow. It’s a stripped-down yet emotionally dense exploration of mortality, free will, and the hidden cost of eternal life.

The story opens with Hopper, a dying man who is hovering at the crossroads of death. He’s visited by Morana, an immortal woman whose appearance seems both divine and burdened. She offers him a way out, a chance to live, but only by taking her place in a cursed existence that spans at least a decade at a time. To seal the pact, he must sign a contract and shoot her. But Hopper hesitates, torn between fear, disbelief, and instinct. What follows is a tense and poetic confrontation that unravels into something much more profound a reckoning with the meaning of existence itself.

There are only two characters in ‘The Wanderer‘, but that is all the film needs. It’s a minimalist setup that yields maximal emotional and thematic impact. Alice Kremelberg is as mesmerising as Morana. She speaks in a form of Early Modern English that subtly, yet unmistakably, suggests her ancient origins. Her diction, posture, and tone all echo the centuries she’s endured. And while her beauty is arresting, what stands out more is the emotional weight she carries. An immortal being tired of wandering, weary of watching time erode everything but herself. There’s a desperate edge to her offer; you sense that this is not the first time she’s tried to pass the curse on. Her envy of Hopper’s mortality is palpable. Through her delivery, you are convinced that even though we often fear death, it holds some value because immortality feels more like eternal imprisonment and not a superpower.

On the other side of this haunting equation is Hopper, played with quiet vulnerability and unassuming depth by Cody Kostro. He brings a natural naiveté to the character. After all, Hopper is a man who has seemingly accepted his fate. Despite being offered life, he remains sceptical, almost indifferent at times. His hesitance feels grounded in something very human the desire for truth. His performance walks a fine line between resignation and resistance, and it’s compelling to watch.

Michael Lavine’s directorial choices are equally deliberate. The decision to present the film in black and white lends ‘The Wanderer‘ the visual sensibility of a classic noir, but with a spiritual twist. The visual tones complement the narrative’s sombre, mysterious, and introspective mood.

Cinematographer Mott Hupfel deserves credit as well for this immersive aesthetic. The soft, intentional lighting, the framing of the meadow, and even the shadows on the characters’ faces contribute to the film’s otherworldly quality. Every shot feels like it’s holding its breath and that death is lurking. It all feels modest but you can also so tell there is a deliberate attempt at capturing and representing a deep visual understanding of the story’s metaphysical weight.

Another thing that is hard to miss is the classic Plymouth that Morana drives. It is almost as though that prop becomes a character itself. You can tell that it has gone through time just like Morana on this endless journey of hers, and she is willing to trade that too if it means her becoming free from the bondage she is in.

As the story concludes, Hopper refuses the offer and accepts his death. It’s not an act of defeat but of quiet defiance. His death and his choice become the moral centre of the film. Morana, on the other hand, is left unchanged, once again fading into the shadows to wander eternally, perhaps looking for the next person to offer the same trade to. The ending seems tragic, yet poetic. Both characters face consequences, but neither receives a resolution.

Clearly, ‘The Wanderer‘ is not a film for everyone. It doesn’t hold your hand, and it certainly doesn’t offer easy entertainment. But for viewers who appreciate philosophical introspection and visual storytelling, it is close to being a rare find.

In the end, it’s a film that prompts you to think deeply about the choices you would make if you were ever offered the gift or the curse of immortality at the crossroads of death. Certainly, this is a question worth brooding over.

I will score this short 4 out of 5 stars.