Motorcycles The Passenger: Much More Than a Motorcycle MovieFilmmaker Gentry Dayton found a way to include drama and appeal to art house fans as well as moto nerds.

Words Scott G. Toepfer
Images Courtesy of Filmmakers, & Jon Humphries

The element of mindfulness is ubiquitous amongst us riders as we look to the road ahead for the clarity we so desperately desire. This is the central theme of Gentry Dayton’s new film, The Passenger, in which the lead character is beset with inexplicable grief and relies on a dear friend to help him find a new way forward as they cruise their motorcycles through the expansive landscape of the Pacific Northwest.

This film, while immediately translatable to the hearts and minds of fellow motorcycle riders, is not necessarily a motorcycle film. The silent reflection of the protagonist, sparse dialogue, and measured editing style is more representative of art-house experimentation. Filmmakers will enjoy the lensing choices— and a solid throwback to the heyday of B-movie hallucination sequences— and moto nerds will appreciate the fact that the film’s two main characters ride top-notch custom choppers over dreamy roads.

No matter what your perspective, the fact that a tight-knit, nimble crew of filmmakers and riders are willing to push the envelope while the rest of us are scrambling for something that feels “normal,” is more than enough to watch, embrace, and respect the endeavor they set out upon.