Florian Zeller’s "The Father" explores aging and dementia by questioning our need for a stable point of identification
The Father is the kind of film that’s got “awards season” written all over it - which is also the kind of film that’s difficult and daunting for an aspiring critic to approach. With its untouchable cast (namely, Oliva Colman and Anthony Hopkins) and unconventional narrative style, The Father may seem, at first glance, like a lofty art film that’s supposed to go over everyone’s heads. Directed by Florian Zeller and based on his play of the same name (Le Père), The Father has already received lots of attention ahead of its U.S. release. After its world premiere at the 2020 Sundance Film Festival, The Father secured four Golden Globe nominations along with a slew of other award considerations. Unlike other stage-to-screen adaptations, which tend to be dialogue-driven, there’s a lot more going in The Father than lengthy speeches used to show off a certain actor’s mastery of the craft. At first, we might expect it to be a highbrow, intellectually-driven film, and perhaps that’s what Zeller was going for. But I don’t think that’s necessarily the best way to watch it.
With a darkly comedic, absurdist and fantastical tone, the style of “The Mimic” is more impressive than its content
The tagline for The Mimic, “the lighter side of being a sociopath,” boasts an intriguing story for anyone interested in representations of mental illness on screen. While this dark comedy from writer/director Thomas F. Mazziotti is not quite the informative and mental health-positive flick you might expect, The Mimic still has several interesting stylistic tidbits to offer. The story’s self-proclaimed narrator (Thomas Sadoski) is a brooding screenwriter and widower who becomes suspicious of the new guy in his neighborhood, referred to as “The Kid” (Jake Robinson). After both men attend a meeting for the community newspaper, The Kid starts following The Narrator around everywhere and popping up in the most unlikely places, leading The Narrator to believe that this unwanted “mimic” is a certified sociopath. However, The Narrator is also pining after The Kid’s young wife, who is characterized as a beauty so perfect that she cannot be shown on screen. As The Narrator takes a deep dive into obsessive research on sociopaths and even begins writing a screenplay about The Kid, it’s hard to tell if he is being stalked by his overeager new neighbor or if The Narrator is turning into a stalker himself. With dark humor and an obscure style, The Mimic is an off-beat, self-referential buddy comedy that touches on psychology and interpersonal relationships.
"Our embodied spectator, possibly perverse in her fantasies and diverse in her experience, possesses agency...finally, she must now be held accountable for it."