Films for Breakfast

PTSD is a tricky subject to tackle in film. This isn’t to say that it’s an impossible task, but for my money, it feels like most depictions of PTSD I’ve seen in film are largely overblown and cartoonish or rather hollow in their approach without getting into the roots of it. In the case of My Dead Friend Zoe, it’s clear that director Kyle Hausmann-Stokes has had similar feelings towards its representation in media and wanted to deliver something both more unique and truthful to what it’s like to live with the condition on a daily basis and how it can consume you entirely if you don’t face it.

The film follows Merit (Sonequa Martin-Green), a U.S. Army Afghanistan veteran who is deeply grappling with PTSD from losing her best friend Zoe (Natalie Morales). At almost every given moment, Merit has Zoe’s presence alongside her, either commentating on her thoughts or the world going on around her. Through her presence, the film explores Merit’s complex relationship with her deceased friend and the guilt she carries from the loss, as well as how she interacts with her grandfather Dale (Ed Harris) or her VA group counselor (Morgan Freeman)

First and foremost, Kyle Hausmann-Stokes’ approach to telling this story is incredibly affective and unique from any other story about the subject matter I’ve seen before. I found the use of Zoe as a presence and Natalie Morales’ performance to be quite effective, and a unique way to present the idea that grief and guilt can linger in unexpected ways. I also admire the fact that it paints the picture of how massive it can grow when you don’t confront it head-on, and how that affects not only your well-being, but those closest to you.

One of the best aspects of the film are the performances. I already complimented Natalie Morales, who in many ways has the trickiest performance as Zoe in the film, because if you don’t buy her presence and what it means to Merit as a character, I think the entire heart and message of the film falls apart. Luckily, not only does her performance work, but as does Sonequa Martin-Green’s – who turns in a truly riveting and heartbreaking performance. She finds a perfect balance between conveying guilt, confusion, and shame in a way that is both reserved and incredibly sad. I found it to be a deeply unique take on something we’ve all read, heard, or even seen – just never quite in this way.

Another admirable factor about the film is its ability to shift between tones in a truly effective way. The film has a pretty solid sense of humor, and manages to work that into a script that coasts between uplifting and depressing in equal measure. All of this balances out a film that I can only imagine encompasses the experience of veterans who have suffered from PTSD – while you can never fully convey this experience, I feel like this film is so strong that it will find a large audience that will feel seen by it. And if that’s not what filmmaking is all about, I don’t know what is.