In the DVD director's commentary to his 1976 siege classic 'Assault on Precinct 13', John Carpenter says that every director on a small budget tries to shoot as little footage as they can and make their film as long as possible. While Conor Horgan's debut feature is a different kind of siege movie to Carpenter's, he's another director who doesn't waste a minute and whose film will stand the test of time.
After some unspecified disaster (global or national, we're never told), Jonathan and Hannah (McMenamin and Reid) and Mark and Katie (Keenan and Campbell) are holed up in a cottage in the Irish countryside. While their electricity is gone, the couples have plenty of supplies and in Mark a resourceful type who knows what's edible in the great outdoors. He's also the one who thinks that things will turn out alright very shortly; the other three aren't so sure. And as one endless day drains into another, jealousy and lies threaten to pull the group apart. If they're to have any hope, they need to stick together - especially when the locals start taking a very active interest in their stockpile of food...
Anyone whose love of films involves regular sit-downs in front of 'The Omega Man' or 'Dawn of the Dead' will find plenty of interest here. A low budget film that never looks cheap, 'One Hundred Mornings' has a tight script, beautiful cinematography and strong performances from the four leads. More concerned with post-apocalyptic relationship meltdowns than action set-pieces, Horgan shows that adversity can bring out the worst in those facing it and that once the initial shock subsides, people can revert to type. Your allegiances shift between the various characters throughout, while the question of whether you'd do any better in a similar situation is a tough one to answer.
As the dinner portions grow smaller, the feeling that things will end very badly nuzzles right down in your bones. But, in a nice twist, Horgan comes up with an ambiguous ending - take from it what you will.
A thought-provoking film for the times we're in, and a director worth keeping a close eye on in the future.