PARKERSBURG -- "Bubble," director Steven Soderbergh's latest experiment, doesn't ebb and flow with a distinctive climax. Instead, it moves forward at the pace of everyday life. In many ways it falls opposite the standard formula. Considering what Soderbergh was attempting to accomplish, it is a strong success.

The film is about locality. It champions the indigenous idea. Not only did the filmmakers cast residents from the Parkersburg and Belpre, Ohio, areas, they used events the actors have experienced to form the storyline. The entire film was shot in that region.

Throughout the film, we see in detailed fashion the construction of a doll at Ohio's Lee Middleton Original Dolls plant, and "Bubble" intrinsically values manufacturing as it relates to skilled workers. In a similar way, it details the monotonous, unadorned, unfeigned lives of its characters, developing a realism most movies won't attempt to achieve because they have other goals in mind.

Martha (Debbie Doebereiner) and Kyle (Dustin James Ashley) work at the doll factory, and because Kyle doesn't have a car, Martha often escorts him to both the doll plant and his other manufacturing job. Martha apparently views Kyle as more than just a friend, but she chooses to remain within the motions of her life rather than express her muted emotions. She works, goes home and takes care of her father (Omar Cowan).

One day, Rose (Misty Dawn Wilkins) joins the doll factory workforce and immediately connects with Kyle. A love triangle unbeknownst to two of its members is born. Still, Martha remains quiet, agreeing to do favors for Rose, who like Kyle lacks a car. She also agrees to watch Rose's 2-year-old daughter while Rose goes on a date. On the evening of, however, Martha discovers the date is with Kyle.

Rose's motivations are dubious, and they cause Martha's passion to surface. A murder and an investigation follow.

Death might be the centerpiece in another version of "Bubble," but here it is the background. The murder doesn't rock the town or even spark much drama. Most characters continue on as they were, as might happen in reality. Because "Bubble" is designed to capture reality, its method is admirable even if it creates dryness in some parts.

Some would argue we don't go to movies for these sorts of scenes. Often, the three main characters are sitting in a lunchroom, eating fast food and having mostly uninteresting conversations. Don't we watch movies to avoid life's gaps, to experience car chases, alien invasions, martial arts battles and political scandals -- things we would never encounter in our own lives?

The thing is, "Bubble" isn't boring. The audience intently watches three people sitting around a lunch table because the film has so effectively captured authenticity. We relate. We've met these people. "Bubble" manages to mostly entertain, even if a few moments are a little too dull.

The acting is impressive considering these people aren't film professionals. Decker Moody is extremely believable as the police detective, probably because he really is a police detective. Kyle Smith, who plays the father of Rose's daughter, is funny and charming. His scene with Moody might be the film's highlight. Another endearing moment involves Rose's daughter begging her not to leave. She isn't acting. She really is fussing and crying. This is why "Bubble" is so striking.

The actors are good because they do well ignoring the camera. At the same time, they seem aware they are in a movie, which actually serves the film's purpose. In one scene, Kyle takes a cue from Martha and brings a hamburger to his mouth immediately after she does. If you notice, though, people really do that.

In another scene, Kyle almost says, "I borrowed a friend from my car," before correcting himself. In reality, people often misspeak. Movie dialogue is usually smoother and cleverer than true-life dialogue. We usually accept this because most movies are elevated for entertainment and timing purposes. For "Bubble," the opposite is true.

The film shares similarities with two recent "artsy" movies -- 2003's "Elephant," a calculated effort by Gus Van Zant that culminates in a Columbine-like shooting, and 2001's "Hotel," which allows a group of marquee actors to develop the plot as they go. "Bubble" has a minimalist style like "Elephant," but the script isn't as meticulous -- Soderbergh provides a general direction and allows the actors to tell the story their way. It employs freedom like "Hotel," but unlike "Hotel," which evolves into insanity, "Bubble" benefits from just enough control.

"Bubble" maintains a consistent heartbeat from beginning to end. The murder represents a slight tremor, and a couple scenes utilize abstract lighting, but the film's focus is documenting a genuine sense of life through quasi-fiction. Many films grapple with finding a sense of conclusion. With "Bubble," that is never an issue.

Staff writer Danny Forinash can be reached at (304) 720-6561 or dforinash@statejournal.com.