The prevailing optimism tells us that whenever the Hollywood studio system is underserving an audience or an entire genre, indie filmmakers will appear like the cavalry to fill the gaps. If that’s true (and it probably is), it’s fitting that Joshua Caldwell‘s Layover was released the same week Warner Bros. announced its next thousand years of DC superhero movies. It’s an antidote to spandex, a movie that won’t set the world on fire that comes at a time when we should be questioning the virtue of movies that set the world on fire. What it is, is a beautifully mature work from a promising young director that calmly and confidently explores themes like the inevitability of life’s pattern and the unnecessary transformative effect of random experiences. It also does all this while being far less pretentious than that sentence is. Simone (Nathalie Fay) lands in Los Angeles after flying from Paris, on her way to Indonesia to see a boyfriend who she’s convinced will be proposing at the baggage carousel. Her connecting flight is delayed, the airline posts her up in a hotel for the evening, and her night blossoms when she meets up with her old friend, Juliette (Bella Dayne). They head out into the wilderness of the city, and Simone crosses tire treads with a mysterious motorcyclist (Karl E. Landler).