Adalynn

The chores and frustrations of a new born baby are countered by the unreserved love that parents have for their child. As is the case with Adalynn (Sydney Carvill) and Bill (Wade Baker) returning home with their baby, Elizabeth.

However Bill has, reluctantly, got to go on a work trip, leaving Adalynn who is not having a good time of it, with post-natal depression starting to consume her. Taken with the shock of seeing a name on the crib, the visons of a crone and her place settings at the table, it becomes clear that Adalynn is struggling with much more than baby-blues.

To try and relive tension she starts painting again, but there’s little relief for her as she deteriorates further that in turn lead to police and family involvement.

Written by Jerrod D. Brito and directed by Jacob Byrd, Adalynn is a slow-burn thriller that while it doesn’t take too long to make a pretty good guess as where it’s going, the film has some elements that could throw the viewer off, or confuse. It did me and I can’t say why as it’ll act as a spoiler, possibly.

The sense of unreality apart from the manifestations of Adalynn’s demons is heightened by her narration that has a feint echo about it, placing it directly in her head and ours. As she questions and answers churning her thoughts that one could imagine being almost endless. And it works well; it’s not intrusive serving as another manifestation of her state of mind along with the physical elements of her decline.

This is Carvill’s film and almost a single hander the viewer is with her so long, witnessing her mind’s turmoil and deterioration. She’s excellent throughout working from a strong script and with the limitations of the budget that keep the film confined to the marital home for the most part.

But as good as Carvill is, the film overall does struggle with momentum at times. It isn’t slack just an instinct that as good as the idea is, a shorter film may have suited it better.

Adalynn will be available on digital platforms from 28 March 2023.