Scratches on the Surface: The Quiet Humanity of ‘‘Perception’’
Written and directed by Kevin Austra, this modest but earnest feature plants its feet firmly in the liminal space between comedy and drama, youth and adulthood, certainty and doubt. It may not reinvent the wheel, but it does polish it just enough to catch the light.
The premise is refreshingly familiar. Four best friends, each staring down the foggy horizon of their future, drift through everyday struggles that feel at once personal and universal. In true indie fashion, Perception isn’t interested in plot pyrotechnics.
Austra’s greatest strength as a filmmaker lies in his affection for his characters. He doesn’t treat them like pawns in a thesis, but like old friends whose conversations we’re allowed to overhear. The casting is spot-on, with a group dynamic that feels lived-in even when the film’s visual textures sometimes don’t.
The lighting is thoughtful and controlled, giving the film a warm, intimate glow that complements its emotional ambitions. Editing is clean and purposeful, allowing scenes to breathe without drifting into indulgence. For an indie feature, the technical craftsmanship is commendable, signaling a director who understands the grammar of filmmaking even when he occasionally leans too hard on dialogue to do the heavy lifting.
And dialogue it has, plenty of it. At times, Perception feels more like a stage play adapted for the screen, with characters articulating their inner lives rather than letting silence, action, or subtext speak. The film could benefit from trusting its audience a bit more.
The pacing also stumbles slightly in the third act. What should feel like an emotional crescendo instead stretches on, as if unsure when to say goodbye. Ironically, the film exists in an awkward in-between: a little long for something that feels like an extended short, and a little short for a feature film.
There are also moments where the production design works against the film’s realism. The clothes are a little too clean, the bar a little too pristine.
Still, what Perception may lack in originality, it makes up for in sincerity. Its messaging, about empathy, misjudgment, and the danger of mistaking surfaces for truths, lands with quiet conviction.
Ultimately, Perception feels like a calling card, a thoughtful, imperfect, and undeniably human piece of work. Austra’s background in theater is evident, but so is his growth as a filmmaker willing to step behind the camera and ask meaningful questions.
