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  In the not too distant future. Layla (Talia Zucker) lives on a cattle farm with her husband Jack (Ashley Zukerman) - a farm that specializes in cloning cattle, as the worldwide demand for cattle has by now outgrown the natural supply. Thing is, cloning thechnology has not yet been perfected, and every now and again, some of the lifestock comes out tainted. Now Layla and Jake's farm is far off the beaten traack, so apart from the driver of the cattle transport Brady (Will Howath), hardly anyone stops by - so it's more than a little unsettling when one night Layla hears human footsteps around and ultimtely in the house when Jake's sleeping besides her in their bed. She decides to go investigate - and runs into herself (Stephanie Arezzi), or rather someone she eventually finds out is her clone. Thing is, her clone's not doing at all well, so she wants to get her to a hospital - but the other Layla tells her Jake mustn't know about her, as he would kill her as a failed experiment. So the two ask Brady for help - who eventually tells them the farm has gone out of business years ago and he isn't really a cattle transport driver but an actor hired to keep up appearances - whcih seemed like a little white lie until he learned about the other Layla. Thing is, Jake isn't all that pleased about his secrets revealed, so he tries to hunt down the Layla's and Brady, shotgun at the ready. And through all of this, the original Layla has to ask herself, if so much of her and Jake's life has been a lie, how much more is Jake keeping from her ...

Now In Vitro is a slowburn thriller, and the first act seems a little drawn out as it concentrates too much on world-building and too little on storytelling. But once the mystery elements of the movie kick in, it gets really good as it manages to surprise the audience again and again, including with its entire thrid act and coda. And a directorial effort playing up the dystopian aspects ofthe film's subject matter, as well as a solid small ensemble help make this film a very worthwhile watch.

review © by Mike Haberfelner

 

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