Six films. Six women. Six versions of control.

In Drone Driver, Miss AL Simpson drags Scorsese’s Taxi Driver through the lens of the algorithm — remade in rain, chrome, and female defiance. New York hums like a machine praying to itself. Drones hover where taxis once prowled, watching, aching, remembering the scent of smoke and skin.

Drone Driver is a neon-drenched sprint through New York’s new suburbia — a city turned technocratic, rain-slick, and watched from above. Women move through its streets with drones as their companions and witnesses: walking the avenues, slipping into taxis, echoing and subverting the iconic scenes of Taxi Driver with a cold, future-facing grace.

Each moment is a glitch in the city’s old story — a hall, a theatre, a backseat, rewritten through chrome, ink-trained AI, and the quiet defiance of women who refuse to vanish into the noise.

This is Manhattan recoded.  
This is suburbia gone vertical.  
This is Drone Driver:  
a short film where the drones see everything,  
and the women finally see themselves.

A short film in The Drones of Suburbia: NYC series.