Resentment Review: A Tense and Intimate Psychological Drama!

Resentment is the kind of film where the simplicity of the premise can be deceptive. On paper, it is essentially a group of people spending a booze-fueled night talking inside a Brooklyn bar. But turning that into an engaging 81-minute psychological drama requires considerably more than an interesting setup. The writing, pacing, character dynamics and performances all have to carry the weight, and Noah Millman’s chamber drama manages to bring those elements together effectively. What begins as an ordinary conversation gradually becomes increasingly personal, uncomfortable, dramatic and intense.

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I particularly liked the decision to structure the film into three chapters. Each section has its own emotional temperature, conflict and dramatic purpose, allowing the story to keep evolving despite remaining within essentially the same environment. The first chapter, centered around David and Coleman, digs into creative jealousy and professional envy. David is an unfulfilled filmmaker, while Coleman has achieved the kind of success David desperately wants, creating a friendship where admiration and resentment exist side by side.

The second chapter shifts the focus toward David and Trish and becomes much more personal. Their conversations expose the emotional exhaustion and unresolved resentment within their relationship, with years of frustration gradually finding their way into their exchanges. What initially feels like a continuation of the tension from the first chapter slowly becomes something more intimate, revealing how deeply their personal lives have been affected by everything happening around them. The third chapter takes the story somewhere I would rather not discuss because of spoilers, but it introduces another layer to the characters.

What connects all three chapters is the film’s dependence on brutally honest conversation. There aren’t convenient resolutions or sudden action sequences to interrupt the tension. Instead, the characters keep talking, digging deeper into subjects they probably should have left alone. That approach won’t work for everyone. You have to understand very quickly that Resentment is deliberately confined. It takes place largely in one location and revolves around a small group of characters. If you’re waiting for the film to suddenly become something completely different, you may find it frustrating. But if you accept its nature, there is a lot to unpack.

That makes the writing particularly important, and Millman handles it well. The dialogue isn’t simply there to fill time; it reveals character. What someone says, how they say it, what they avoid saying and how they respond when challenged all gradually expose the relationships underneath the surface. The film understands that resentment and animosity rarely appears out of nowhere. It accumulates through years of disappointment, insecurity, comparison and things left unsaid.

The performances are arguably the biggest reason this works. There is no conventional hero here, and each of the three central characters carries their own baggage. Patch Darragh gives David an uncomfortable mixture of insecurity, jealousy and frustration. Lawrence Gilliard Jr. brings a relaxed confidence to Coleman, whose seemingly comfortable position creates an interesting contrast with David’s dissatisfaction. Jen Ponton gives Trish considerable emotional complexity, particularly as her responsibilities at the bar and her strained relationship with David begin colliding. All three understand that the film depends on subtle shifts in attitude rather than exaggerated performances, and they keep the conversations engaging throughout.

The technical presentation complements the intimate storytelling nicely. Valentina Caniglia’s cinematography makes effective use of the bar’s confined interiors, with dim environments and warm practical lighting creating an atmosphere that feels simultaneously inviting and claustrophobic. The visual approach doesn’t attempt to make the film look bigger than it is; instead, it reinforces the sense that these characters are trapped together with nowhere for their emotions to escape. Alexander Morgan’s background score also adds another layer, particularly when the tension begins creeping beneath otherwise ordinary conversations.

Ultimately, Resentment is a film that understands its limitations and turns them into its greatest strength. It doesn’t need elaborate locations or conventional action to create conflict because the conflict is already sitting at the table. Through three progressively more personal chapters, strong dialogue and excellent performances, Noah Millman turns a simple night at a Brooklyn bar into an uncomfortable examination of jealousy, broken relationships and the things people carry until they finally can’t keep them buried. You can now rent and stream ‘Resentment (2026)’ on Amazon or Fandango at Home and follow the movie on Instagram for more updates.

‘Resentment (2026)’ Rating – 3.75/5