Now Available on VOD (UK)
In art exhibitions, the words “In Vitro” have often been used for installations and short films that explore the relationship between humans and technology. With this title now attached to a feature co-directed and written by Will Howarth and Tom McKeith, the ideas are explored in a different, unsettling context.
The story is about control. Jack (Ashley Zukerman) runs the household and the business, and his behaviour unsettles his wife, Layla (Talia Zucker). Together, they operate a cloning facility that supplies cows to a country unable to sustain its own livestock. While the premise hints at broader dystopian implications, the narrative keeps its focus tightly on Layla’s personal struggles, leaving the larger world underdeveloped.
Alone, she senses that something is wrong within the facility. She doesn’t know why, but she’s desperate for answers. I felt that same curiosity, but when the film finally revealed the scope of its scientific advances, I pieced things together too quickly. Perhaps I spoiled the tension for myself, but it kept me watching to see whether I was right. While the drama works, the uneven pacing left me restless.
The film’s soundtrack is among its strongest assets. Aboriginal-inspired beats and tonal layers create a mood that heightens tension effectively. Yet, without broader context or clever misdirection—such as incorporating mention of climate change or ecological threats—the stakes remain narrow. A world with mutant bunyips or other outback dangers could have added depth and unpredictability.
Ultimately, In Vitro is a contemplative, haunting film, best appreciated for its character study and psychological tension rather than expansive speculative world-building. Those who enjoy atmospheric, slow-burn psychological drama will find much to admire, though viewers hoping for a richer dystopian vision may come away wanting more.
3½ Stars out of 5
In Vitro Movie Trailer
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