Chauffeur to a shady mogul, Moroy is dispatched by his boss on an absurd errand in the middle of the night. As he sets off, his mind pieces together memories, conversations and fantastic visions. A stylish, elliptical neo-noir set in a deeply class-riven society.
Moroy has one job: travel to Manila, hundreds of kilometres away, and bring back a t-shirt and some pills. As he sets off on this peculiar assignment, his puzzled and sleep-deprived mind wanders between reality and fantasy, piecing together past transactions with his employer, casual conversations with fellow chauffeurs and fleeting visions of symbolic import.
Adapted from Filipino writer Angelo Lacuesta’s eponymous short story, Dominic Bekaert’s debut feature An Errand is a stylish, neo-noir scrutinising the psychosexual underside of a corrupt and deeply class-riven society. Despite their privileged access to elite intrigues, Moroy and his indentured peers can never fully grasp or aspire to this life, condemned to being eternal outsiders who must know their place.
Bekaert’s film progresses like an existential parable, with its stoic protagonist fully embracing the absurdity of his role and satisfying the exacting demands of an ambiguous, incomprehensible god. Shot with a cinephile’s devotion to colour, light and texture, An Errand unveils a world of impenetrable surfaces and treacherous depths.