Jon Stojan
Dindin, directed by Brendan Patrick Hughes and written by Brenda Withers, is a genre-defying comedy that takes audiences on a tumultuous journey through the complexities of human relationships, all set against the deceptively simple backdrop of a dinner party gone terribly wrong.
At its core, Dindin explores the volatile interactions of four main characters—Darlene, Pierre, Emily, and Ricky—whose seemingly polite dinner quickly devolves into chaos. From sharp-tongued conversations to flying plates, the film artfully portrays the unraveling of social norms and the raw human emotions that bubble beneath the surface. As Withers, who not only wrote the screenplay but also stars as Darlene, explains, “Dinner parties put a lot of moral questions on the table—who eats what, who holds their tongues, how everything gets paid for—so it was a naturally rich canvas to explore.” Indeed, the film transforms a simple social gathering into a high-stakes battleground where every interaction is loaded with tension.
Originally conceived as a play, Dindin found its way to the big screen in a unique fashion. When the COVID-19 pandemic made live theater performances impossible, the team behind the story experimented with a Zoom reading, an act that unexpectedly resonated with audiences. “That rudimentary screen version really struck a chord,” Withers recalls. “We knew we had to expand it into a film.” This transition from stage to screen is seamless, as the film retains the intimacy and immediacy of a live performance while utilizing the cinematic medium to its full advantage.
A significant part of the film’s success lies in its direction and visual style. Brendan Patrick Hughes, known for his work on the PBS film The Metal Detector, brings a focused and controlled vision to the film. He collaborated closely with celebrated documentary cinematographer Emily Topper, whose previous work includes documentaries on Brooke Shields, Lady Gaga, and Britney Spears. Topper’s minimalist approach to the cinematography gives Dindin a haunting authenticity.
The film’s tight-knit cast of four—Brenda Withers, Jonathan Fielding, Robert Kropf, and Stacy Fischer—brings an unparalleled chemistry to the screen. Having previously worked together on various stage productions, their comfort and familiarity with one another shine through, making each scene feel spontaneous and organic. Fielding reflects on the benefits of their long-standing professional relationship: “When you’ve worked with someone for as long as we have, you build a certain rapport that can’t be faked. It allows us to dig deeper and make bolder choices.” Robert Kropf adds.
Despite the film’s contained setting, Dindin maintains a sense of momentum and intrigue throughout its runtime. Withers credits this to the story’s constant subversion of audience expectations. “Dindin covers so much territory, and that’s by design—the topics are tangled up with each other, like the characters navigating them, so there’s not a single main theme or moral takeaway. The questions I was asking when I started writing aren’t always the questions people ask me after seeing the movie, and I love how the same ingredients make up different meals depending on who’s consuming them,” she explains. This approach allows the film to keep audiences on edge, constantly guessing what will happen next as the characters’ carefully constructed facades begin to crumble.
One of the film’s most striking qualities is its ability to navigate multiple genres effortlessly. Described as a “black comedy of manners,” Dindin touches on elements of drama, horror, and farce without ever feeling disjointed. Withers elaborates on this creative choice: “Dindin is pretty wide-ranging in tone—it’s a comedy of manners that veers into drama and horror and farce, and doesn’t sit too long in any one place. Part of the piece’s experiment is how to keep a simple evening, one long and winding conversation, suspenseful. We settle in the realm of a philosophical thriller.” This genre-blending not only keeps the film engaging but also lends it a unique voice in the crowded indie film scene.
Dindin has already generated significant buzz for its sharp writing, nuanced performances, and bold visual choices. Available to watch on Amazon Prime and Apple TV as of October 8th, the film has already captured the attention of indie film lovers looking for something fresh and intellectually stimulating. Hughes reflects on the challenges of getting the film noticed in today’s digital landscape: “It can be a challenge to get Dindin in front of people’s eyeballs, but once we do, it grabs hold of them and won’t let go. Dindin is an experiment—an attempt to poke at the edges of cinema, or genre, and ask if four human beings in conversation can create a vortex that can encompass an entire motion picture.”
For audiences seeking a film that challenges conventions and delivers a rich, thought-provoking narrative, Dindin offers a cinematic experience that is as entertaining as it is unsettling. The film’s exploration of human connection—or the lack thereof—through the microcosm of a dinner party will leave viewers reflecting long after the credits roll. In a world of predictable blockbusters, Dindin stands out as a rare indie gem that refuses to be confined by genre or expectation.