Dindin, an indie film directed by Brendan Patrick Hughes and written by Brenda Withers, achieves to capture the raw essence of human relationships. What begins as a seemingly ordinary dinner party between four characters soon unravels into a gripping and darkly humorous exploration of human behavior, revealing the tension, power dynamics, and social expectations that lie beneath polite conversation.
Available to watch on Amazon Prime and Apple TV on October 8th, Dindin promises to leave a lasting impression on viewers with its genre-defying approach. The film’s premise is simple—a dinner gathering—but the execution is anything but. As the evening progresses, sharp words turn into exposed secrets, and social niceties are thrown aside. The film’s brilliance lies in how it shifts between comedy, drama, and even horror, creating a narrative that refuses to adhere to traditional genre boundaries.
“Dinner parties put a lot of moral questions on the table,” explains Brenda Withers, who not only wrote the screenplay but also stars as Darlene, one of the film’s four central characters. “Who eats what, who holds their tongues, how everything gets paid for—these are natural topics that serve as the perfect backdrop for exploring deeper moral dilemmas.”
The film’s plot may revolve around a dinner party, but the real focus is on the interactions between the four characters—Pierre, Emily, Darlene, and Ricky. What starts as small talk and light conversation quickly descends into a high-stakes emotional battle, where power struggles and long-held grievances come to the forefront. These moments are captured with precision by cinematographer Emily Topper, whose experience in documentary filmmaking adds a layer of authenticity and intimacy to Dindin.
“Emily’s background allowed us to create a visual language that feels incredibly real,” notes director Brendan Patrick Hughes. “Most of the shots are focused on human faces, capturing the subtle shifts in emotion that tell the real story. We wanted the camera to become a silent observer in the room, almost like a fifth character.”
The visual style of Dindin is one of its many strengths, but it is the film’s ability to balance multiple genres that truly sets it apart. As Withers explains, the film started as a comedy of manners but quickly expanded into something much larger. “We wanted to explore the tensions of a dinner party but also push the limits of genre. Dindin veers between drama, farce, and even horror at times, all while maintaining a sense of unpredictability. There’s something about these characters that makes the audience both laugh and cringe.”
Indeed, Dindin toys with audience expectations. The sharp dialogue, often laced with dark humor, contrasts starkly with moments of genuine emotional vulnerability. Each character is carefully constructed to serve as a mirror for the audience, forcing viewers to confront their own assumptions about human interaction. This tension is heightened by the confined setting, which Hughes refers to as “an alchemical brew of four human beings.” The decision to keep the film largely contained within the dinner party setting enhances the claustrophobia and heightens the stakes.
“We could have opened the world of the film to other locations or backstories,” Hughes explains, “but we wanted to keep the focus on the dinner party itself. It’s one of those nights where things spiral out of control, and by confining the characters, we force the audience to experience the full emotional weight of what’s happening.”
The chemistry between the cast—Brenda Withers, Jonathan Fielding, Robert Trow, and Stacy Fischer—adds an additional layer of complexity to the film. Having worked together in stage productions, the actors bring a familiarity and depth to their performances that is rarely seen in indie films. “There’s a shorthand that comes from years of working together,” says Fielding. “It allows us to be more present in the moment and really play off each other.”
The film’s dark humor and sharp social commentary also make it a standout in the independent film landscape. As the characters engage in increasingly volatile conversations, the underlying question becomes clear: what are we really doing when we sit down for dinner with others? Are we truly connecting, or are we simply performing roles based on societal expectations? The dinner party setting, often associated with civility and decorum, becomes a stage for chaos and confrontation.
Brenda Withers sums up the film’s appeal: “Dindin is ultimately about the masks we wear and what happens when they start to slip. The comedy comes from the absurdity of it all—how desperately we try to maintain control even when everything is falling apart.”
Releases only recently Dindin it is poised to become a favorite among fans of indie cinema. Its ability to mix humor, suspense, and a touch of horror within a seemingly mundane setting makes it a refreshing departure from formulaic filmmaking. With its October 8th release, Dindin offers a unique experience for viewers who are ready to challenge their perceptions of genre and human behavior.
For those looking to engage with a film that offers both entertainment and thought-provoking commentary, Dindin is a must-see. It is a cinematic experiment that proves even the most ordinary settings can be transformed into something extraordinary, and that beneath the surface of polite conversation lies the potential for chaos.
