We open on a beautiful woman, known only as “The Angel” (Lindsay Lane), cleaning blood up from her kitchen, in the aftermath of . . . something. Then, slowly, the events surrounding this tableau begin to unfold, though all out of order. We meet a Bastard (Trey McCurley), a Blonde (Katherine Adams), and a Whore (Ko Wills)—all the only names we know them by in the film—and together they show us a dark and seedy tale that ends in murder—or is murder the end of the story? The film is only about 20 minutes, so to say much more about the plot would be a disservice. Suffice it to say, it’s full of twists, reveals, and gritty noir fun.
The noir style is executed perfectly in every aspect of the film. It’s shot in color, but in a way that makes it almost seem like black and white. The performances are all good, but the film is carried largely by Lane (who also co-wrote the story). She is at once the hardboiled antihero and the seductive, but deadly, femme fatale.
The dialogue is also particularly noir-esque, cleverly constructed, often with double meanings, but still vague and full of ambiguity. It wouldn’t be a noir story if you knew exactly what was going on. All-in-all, though, Echoes does what it’s meant to do, throwing us into a dark, gritty, and somewhat uncomfortable world and weaving a compelling story, one step at a time. If you’re a fan of noir, you’ll enjoy Echoes in an Empty Apartment.