Micah Williams Kelly’s ‘Cross’ is a no-dialogue thriller that builds tension through rhythm, contrast and atmosphere, sidestepping exposition entirely. It opens in an empty gym: a young boxer (David Baracskai) trains with relentless urgency, while an older janitor (Buddy Clements) moves through the space, cleaning with slow, practiced routine.
Shot in 4:3, the frame presses in on both men. The editing does most of the talking — fast, staccato cuts of the boxer’s movements play against the janitor’s stillness. These early scenes are tightly constructed, hinging on rhythm rather than narrative.
Then the film pivots. Their paths cross in the locker room, and what starts as a simple portrait of two lives shifts into something darker and more elusive. Kelly handles this transition with care, unsettling perception and folding reality.
The production is of high quality across the board. Edward Tran’s cinematography gives the gym an almost oppressive atmosphere, its empty spaces charged with unease. The sound design is equally strong, building tension with an understated but cinematic approach. Without dialogue, the film leans on pure visual and sound – and it’s flawless.
Baracskai’s physical performance communicates relentless drive and frustration, while Clements brings a quiet gravity to the janitor. Together, they anchor the film’s final turn, which lands with real impact.
‘Cross’ is a must-watch for anyone interested in stripped-back, visually striking storytelling.
