Films for Breakfast

Art is one of the most powerful tools humanity has ever created; not only does it have the capability to make us laugh, reflect, cry, etc. – but it has the power to help us heal and grow. Kelly O’Sullivan and Alex Thompson’s Ghostlight is an ode to the communal experience of creating art, experiencing art, and how it sticks with us long after we’re done with it. The film follows Dan (Keith Kupferer), a construction worker who unexpectedly joins a local theatre’s production of Romeo and Juliet – an act that feels like a mindless distraction from his life at first, but the drama within the play begins the mirror his own life.

Between Paul Giamatti in The Holdovers or June Squibb in Thelma, showcases for under-appreciated character actors are becoming one of the favorite trends in cinema at the moment. Keith Kupferer is an incredibly reliable and talented actor who you will definitely recognize the moment you see him, but in Ghostlight, he simply gives a transformative and completely humanistic performance. There’s such a deep authenticity to his approach to playing Dan, where you genuinely forget you’re watching someone perform and like you’re peaking into the life of someone who feels so familiar to you.

Filmmakers Kelly O’Sullivan and Alex Thompson’s first film, Saint Frances, was a lovely and understated meditation on feminism, motherhood, and childlike wonder. Ghostlight tackles different themes within grief, artistic expression, aging, etc. – but feels incredibly similar within its approach for authenticity and focus on character. Kupferer’s understated performances, plus O’Sullivan and Thompson’s humanistic direction help make this feel so incredibly authentic and unique from the first to final frame.

Grief is one of the most commonly explored themes in cinema, I think because it’s something that every human can inherently relate to. Ghostlight really snuck up on me with its exploration of grief – it feels so untraditional in its approach and never feels like its exploiting emotion. Instead, the filmmakers opt for a more honest approach at how it can slowly make us feel dissociated from life around us; we continually try to process a death as the world keeps spinning, regardless of whether or not we’re ready to move on. The family dynamic at play here feels so authentic within how a family would respond to a tragic loss, and the filmmakers wisely know how to balance this drama between sincere and understated.

However, it’s incredibly impressive that the film clocks in around 115 minutes yet feels as dynamic as it does. On the one hand, this is a deeply personal and moving drama about letting go of grief and resentment and opening your heart up again, but it also has some truly beautiful and entertaining moments as well. There’s such a joy within seeing these characters bring Romeo and Juliet to life, and Dolly de Leon’s performance as Rita, Dan’s co-star of the play, goes a long way within the entertainment value, as she turns in a fantastic performance. I’d also be remiss if I didn’t bring up Tara Mallen and Katherine Mallen Kupferer’s equally tremendous supporting performances.

For anyone who has ever been in a play, or has contributed to creating any other form of art, I think there’s a lot to admire within Ghostlight and how it conveys the human experience and longing for understanding; whether its within ourselves, our family, our friends, or the art that we create/take in. Saint Frances was a home run for Kelly O’Sullivan and Alex Thompson, but Ghostlight feels like a glorious next step in their filmmaking journey. I’ll take as many authentic and lovely character dramas as I can get from these guys.

4/5