Mission

drift, Dylan can’t find his place in this world. He has a meaningless job in the city, without any true friends or real purpose. Dylan decides to rip up his mundane life and gives himself one week and a mission: to truly live before he dies. Dylan’s acts of rebellion soon become stranger and more extreme, as he rubs up against the modern world around him, in the hopes of finding meaning, connection and salvation.

COMMENTARY
Producer Paul Wright is back in the director’s chair for a tale of solitude and neurosis. The story is inside Dylan’s head, and outside as well: in his past, of which we get quick glimpses; and in his present, which he can’t control. He’s up for anything: arguments, fist-fights, or brawls in pubs, in clubs; hangovers, small orgies; knives, guns, or Russian roulette. A roller coaster of a film, like Dylan’s mind.

DIRECTOR'S STATEMENT
I have always been drawn to characters on the fringes of society: rebels, outsiders and misfits. In my recent work I’ve started looking more closely at their existential journey, in an attempt to bring meaning to a world they feel alienated from. With Mission, I put this journey front and center, exploring the ways we attempt to cast off the everyday in our search for meaning and purpose. The film dialogues with literary classics such as The Catcher In The Rye, Steppenwolf, and Nausea; the nonfiction works of Mark Fisher and Colin Wilson, and the subversive energy of the Situationist International, punk, hardcore and death metal. A human, moral, and sensorial journey, subversive and disturbing, yet moving and exciting.