The film’s main subject is “Christian,” a pseudonym for the who also happens to be director Al Bailey’s friend. For legal reasons, the audience doesn’t get to know “Christian”, since Bailey only films him from behind. Most time he pixelates “Christian’s:” face and warps his voice. But that doesn’t mean that the film doesn’t give us any information about “Christian”. Through conversations where Bailey is in camera with “Christian,” the latter talks about the automation that is present in modern day flying. That still means that he ha to be sober for his job, since his work gives him different kinds of tests to prove his competence.

Thankfully, “Christian’s” shifts are sporadic and his layovers long, giving him enough time to go on Tinder. Well, Tinder was part of the original plan to find “Christian” love after his wife died in 2014, but his behavior derails that quest. There are times when both are each other’s bad friends. For example, Bailey films “Christian” when he doesn’t want a camera in his face, but for the most part, “Christian” is the bad friend. Most of the scenes during the film’s first half hour is him telling Bailey the truth about his life as a long-haul pilot.

But otherwise, he tries to convince Bailey that he’s fine, that he’s competent as a pilot. Bailey doesn’t believe him though. That’s because most of these conversations take place the morning after he would drag Bailey to a red light district in whatever city they’re in. On a personal note, my kill list post-COVID would shock some scolds, but it’s hard to be a sex addict before and after COVID. Myabe that’s the thing, that workaholic routines drive people like “Christian” into benders. Of course, there’s being sexually active and being an addict, and “Christian” is an addict.

“Christian’s” anonymity is a major hindrance here. It’s been maybe a whole two years since I’ve seen a documentary with an anonymous subject. But even the “I don’t want to lose my job” reason doesn’t work here. If you want to be trash be upfront about. Also, it doesn’t seem to know what to do with “Christian”, since following him is a losing game. So is he supposed to be the film’s jumping point into a larger conversation about alcohol and sex addiction? At some point, that seems to be the case, since Bailey has to put himself in his own film to talk to the other crew about his friend. And judging from earlier scenes, it seems like Bailey’s new goal to help his friend doesn’t feel genuine. Everything seems forced here.

A lot of things here are morally objectionable. “Christian” refers to Filipino women in an infuriating way. We can say the same for how Bailey talks about sex workers. And of course, consent was already out of the window, but there’s one set of sequences in Vegas where “Christian” takes things to a lower level. If Bailey finds “Christian’s” behavior objectionable, why show it in film? Did he spend all his time and money here and he’s only releasing to recoup some money? Is a petty hit piece? The film gets some credit because at least Bailey warns “Christian” that the latter is on his last straw. Most friendships have died for less toxic reasons than actual toxicity. I know that some antiheroes make for good films but filmmakers should film people who are worth filming.

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