I'm not sure when I first met Erin Brown Thomas, though I'm pretty sure it was in line with Indy's own Heartland International Film Festival. It's a festival she's returned to often, both her films and her entire being seemingly aligned with the Heartland mission to celebrate the power of cinema to make a difference in the world. 

If you know me, you know that I have a pretty strong rule about not reviewing episodic material, pilots, or similar. However, I'll confess that when Erin Brown Thomas makes a film I tend to want to see it whether it fits within my neat and tidy rules. Her latest, Chasers, doesn't strictly fit within my guidelines. However, when I found out that I'd be offering some press coverage for the the 2025 Slamdance Film Festival - LA, I knew that checking out Chasers was a must. 

I wasn't disappointed. 

Chasers is a 31-minute pilot. It's timely. It's brilliant. It's somehow both fun and devastating to watch. Working alongside lead actress and co-writer Ciarra Krohne (Waves), Chasers is a darkly satirical journey through the lives of LA's young creatives, dream chasers often forced to compromise their emotional and physical well-being in that pursuit of something resembling success. This pilot, a technical marvel shot in one continuous take, possesses both vibrancy and urgency in its pursuit of uncomfortable accuracy. 

Hope is a weird thing. It's both worth fighting for and yet easy to exploit. At times while watching Chasers, I practically felt like I was watching Oprah shout out "You get Exploitation!" and "You Get Exploitation!" and "You get Exploitation!" 

Brown Thomas envelopes us in the seductive nature of a hustle culture where big promises are made and seldom delivered. When these promises are fulfilled? Sometimes, it's even worse as hearts are broken and souls crushed. 

Or worse. 

Chasers is mesmerizing to watch. Beth Napoli's lensing ensures that the film's one-shot foundation is no gimmick. It's a narrative necessity to capture the off-kilter urgency of this sharp, precise storytelling that weaves together a tapestry of vulnerability, humanity, and the toxic spiral that swirls amidst exploitation and this fast-paced culture. You're both drawn to these characters, especially Krohne's Sophia as she attempts a reluctant Jacob (Louie Chapman) for reasons more akin to a coping skill than anything resembling attraction. 

Brown Thomas infuses Chasers with subtle, vital touches that will linger in your psyche' from the film's opening moments through its final emotional gut-punch moments. Original music by Adam Kromelow and Daniel Rufulow complements the film's unique narrative rhythms masterfully and you'll be thinking about one particular dance sequence for days. Seriously. 

Chasers entertains and yet is also remarkably pointed in its messaging about the toxic nature of entertainment and how the pursuit of success can lead one down such a devastating, traumatic path. Krohne is front-and-center here, however, Brown Thomas masterfully casts the supporting ensemble with the likes of Keana Marie (Guns Up), Xan Churchwell (Beast Beast), comic Shannon Gisela, Daniel Rashid (Atlanta) and others. 

One can only hope that this pilot truly does end up as a series. Chasers is smart, compassionate, insightful, and impossible to ignore. 

Chasers is not exploitative. 

One dream did come to fruition for Brown Thomas with Chasers as the pilot snagged its world premiere at the 2025 Sundance Film Festival followed by a screening this very weekend at LA's Slamdance Film Festival. As is true for nearly everything Brown Thomas directs, if you get a chance you should check it out. 

Written by Richard Propes
The Independent Critic