Not always, movies will make you think. Some of them are designed to raise some questions, but you’re not obligated to start some discourse with a large part of them. That being said, films like Betray: Thirst inevitably make you “look.” The film, an honest take on infidelity, is part of an independent movie library where performances could be tweaked, and scripts could use some doctoring. However, in this vast universe of indie movies, auteurship is common as well as important. Who are we to say that a story doesn’t make sense?
Jaron Lockridge’s Betray: Thirst is an auteur’s work that feels relentless, grounded and unforgiving. It is also a simple movie, with plenty of dialogue and exposition dumps that may feel overwhelming and unnecessary. Then again, Jamal’s storyline is complicated, and at some point, it seems inevitable. The human spirit can be weak, and the thirst for others is its weakness.
Jamal is an attorney. A pretty good one, actually. His relationship with his wife isn’t the best, but he makes up with a successful law firm that he founded alongside his best friend, Darren. His work becomes his life, and his wife, Shavonne, becomes secondary. His latest case involves Jada, the victim of an abusive relationship who seeks help and finds in Jamal a great partner. Perhaps one that gets too close.
I won’t reveal what happens between them two because you can see that for yourself in the trailer above. But what’s special about Lockridge’s entry in his anthology series of the same nature is that he stays focused on the realistic shade of Jamal’s journey. There’s no question that he’s not doing the right thing by getting close to his client, but Lockridge gives himself a chance to land a final blow that is as bold as it is exciting. The outcome of Jamal’s infidelity is morally twisted. It’s not exactly fair to all those involved in the plot, but still narratively effective.
Is there a place for improvement? Of course. Lockridge’s script lacks momentum, and he gets repetitive by having to insist on some issues Jamal is facing (every time he goes to bed, we all know what is coming). The editing could also use some work as Betray: Thirst feels like an uncut version of a much better and shorter film. The performances are good as long as they stay grounded and within the realism of the plot. Unfortunately, when things go awry, Lockridge must depend on what his actors can deliver and what his script mandates.
Betray: Thirst is also framed under its director’s approach to telling Black stories while getting rid of the unnecessary stereotypes. Lockridge succeeds, that’s for sure, and he proves that you can actually tell a compelling story without having to address some of the social issues that are often associated with the culture he’s portraying. It just makes you want to see what’s coming in the filmmaker’s future.
Film critic. Lover of all things horror. Member of the OFCS. RT Approved Critic.
