Written and directed by Kelly O’Sullivan, co-directed by Alex Thompson, when a construction worker unexpectedly joins a local theater’s production of Romeo and Juliet, the drama onstage starts to mirror his own life. Starring: Keith Kupferer, Katherine Mallen Kupferer, Tara Mallen, Dolly De Leon, Hanna Dworkin, Dexter Zollicoffer, H.B. Ward, Tommy Rivera-Vega, Alma Washington, Matthew C. Yee and Marlene Slaughter.
One of the joys for any film fan is to go into a film with as little knowledge as possible of what’s ahead of you, and to discover a gem, to be surprised, delighted and moved. Ghostlight does all of that, and the best plan of action is definitely to go in with as minimal preconceptions as possible because you can’t describe the plot or summarise it and do it justice. That’s because ultimately, Ghostlight is not about what physically happens, it’s about the emotions, growth and compassion along the way.
Kelly O’Sullivan and Alex Thompson kick things off by setting the entire atmosphere on edge, it’s filled with a bubbling tension that’s ready to explode at any minute. Starting off with that combustive air is fascinating because Ghostlight slowly transitions into such a gentle, loving and empathetic film. It is genuinely touching, the way that it moves so perfectly allows it to burrow its way under your skin, to almost fall in love with this family. Not to mention that it’s such an unconventional but hugely thoughtful way to explore grief.
Throughout the entirety of Ghostlight, it’s constantly asking its characters to look outside of themselves, to seek the perspective of others, which in turn will cause them to open up and understand their own struggles. It’s such clever writing which is expertly brought to life by this cast, led by the wonderful trio of Keith Kupferer, Katherine Mallen Kupferer and Tara Mallen. Every step they make in these performances is excellent, they all capture a rawness, honesty and sincerity.
Each of their characters have fallen apart in their own way but can’t pull themselves together without the help of the others, it’s heartrending and moving to watch because their performances are exceptional. Of course, there’s an extra level of intimacy and impressiveness when you realise these three are actually a family in real life. O’Sullivan created a superb trio of characters and these actors do them justice to the highest degree, creating a wonderful experience. It’s the cherry on top being supported by an eccentric theatre group, helmed by the excellent Dolly De Leon who is unsurprisingly fantastic in this.
With the difficult circumstances that this family faces, one of the clever ways that the tension and struggle are balanced with Ghostlight’s big heart, is through the direction and cinematography (by Luke Dyra). The aesthetic has a colour and texture that’s reminiscent of Sam Levy’s work in Lady Bird, it has an edge of emotion and nostalgia, bringing a genuinely wholesome air. It helps to elevate and embrace the warmth of the film, paired with O’Sullivan and Thompson’s understated and intimate direction.
Ghostlight is anchored by three of the best performances you’ll see this year from Keith Kupferer, Katherine Mallen Kupferer and Tara Mallen. It’s the type of film that can both utterly break your heart but also make it full again, it’s filled with grief and tension that evolves into warmth and compassion. Kelly O’Sullivan and Alex Thompson’s debut feature Saint Frances showed how much potential these filmmakers had and Ghostlight embodies all of it. The concept sounds so strange and yet tying in Romeo and Juliet worked ridiculously well, it’s impressive, truly moving and perfectly original.
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