Elena Oxman’s feature directorial debut, Outerlands

, is a sincere drama layered with depth and empathy. The story sees Asia Kate Dillon as Cass, a non-binary San Franciscan navigating life through childhood trauma while barely getting by. Struggling to make ends meet, Cass juggles several jobs, including nannying for two young rich girls, serving at a local restaurant, and even selling drugs on the side. Survival is their goal, but attempting to do so brings its own set of challenges.
If, after reading the high-level synopsis of Outerlands you’re thinking it’s yet another trauma story that intersects its character’s journey with heavy sociopolitical commentary, I’d say to reserve judgment. Oxman pulls off an exceptional effort here where subtlety is a strength; nothing that needs to be stated or shown is left unshared. This is a body of work that is incredibly human, where Cass’ experiences are never minimized. Instead, every shot of the San Francisco landscape, every conversation, and every sonic inflection in the score breathes life into this film and takes us on an empathetic journey.
While managing her three jobs, Cass often finds it difficult to make time for a social life. Emile (Daniel K. Isaac) often invites them out to explore different queer bars, but something holds Cass back every time. Perhaps it’s their recent fixation on Kalli (Louisa Krause), a restaurant coworker who has shown interest in Cass. After a late-night hookup, Kalli reaches out to share that she has a new job opportunity in Reno and needs Cass to watch her 12-year-old daughter, Ari (Ridley Asha Bateman). Not wanting to disappoint their new flame, Cass agrees.
Oxman Elevates This Simple Story With Thoughtful Character Dynamics

These Dynamics Are Built On Our Need For Belonging

After days of unanswered texts and calls, Cass begins to feel that familiar feeling of abandonment that she felt when they were a child. And now, they’re forced to watch Ari experience the same thing. This is when Oxman’s picture soars beyond a simple story, demonstrating the power of human connection and belonging even when faced with having to relive traumas. Cass, while unprepared, takes on that temporary parental role for Ari, though it comes with its challenges. At just 12 years old, confronting the thought of abandonment, Ari is independent, reliable, and sharp.
Part of what strengthens and amplifies Outerlands from a standard childhood trauma story to a layered experience of human connection is the dynamics of Cass and Ari’s relationship. Dillon is sensational; it’s hard to take your eyes off their every move, even when there’s no dialogue. As their character is often dejected from their current living situation and now has to deal with Ari, Dillon moves through these circumstances quite naturally with a sense of power, gloom, and unpredictability. For a script that isn’t heavy-handed in making its sociopolitical commentary obvious, Dillon does the heavy lifting with their facial expressions alone.

Bateman is the perfect screen partner opposite Dillon and plays her character impressively. Often, she delivers her lines with a humorous undertone that perfectly captures the underlying desperation in the delivery. Ari is terrified that her mother has abandoned her to the point that she refuses to acknowledge the possibility altogether. And with her performance, Bateman convincingly demonstrates the psychological impact this would have on a child: withdrawal and clinginess to sentimental valuables.

Every shot of the San Francisco landscape, every conversation, and every sonic inflection in the score breathes life and storytelling into this film to take us on an empathetic journey.

Outerlands isn’t just a story about navigating through life after childhood trauma. It’s an experience of human connectivity and belonging. As Ari and Cass reconcile with the fact that they only have each other at the moment, their bond grows through attachment and reliance. Oxman’s directional choices — such as lingering close-ups — are added benefits that enable us to connect more deeply with its characters. And thanks to some very powerful performances from Bateman and Dillon, this isn’t just a story that invites us to explore the effects of childhood troubles. It reiterates that understanding is all we ever truly want and need from others.
Outerlands premiered at the 2025 SXSW Film Festival and played at the San Francisco International Film Festival.

Outerlands

7/10

Release Date

March 8, 2025

Runtime

100 minutes

Director

Elena Oxman

Writers

Elena Oxman

Producers

Henry Russell Bergstein, Allison Estrin, Asia Kate Dillon

Pros & Cons

Asia Kate Dillon and Ridley Asha Bateman are fantastic
The storytelling is infused with empathy
The film navigates childhood trauma with thoughtfulness