Fest Track On Sirk TV Film Review: GHOSTLIGHT [South By Southwest Film Festival 2024 - Austin, Texas]

The aspect of reflection is always an interesting proverb for life but doing it within a Shapespearean context can be tricky. "Ghostlight" [Festival Favorites] which first played at Sundance, has some of the essence of "Theater Camp" but with a lot more pathos. Keith Kupferer, who has played a heavy in many films including "Road To Perdition" and "Public Enemies" in addition to time on some Dick Wolf Chicago procedurals, plays Dan, a man broken who can't engage with his family. He also has a ramubunktious daughter who is striking out after the accidental death of his son. Directors Alex Thompson and Kelly O'Sullivan (who also wrote the film) use the aspect of community theater as a form of therapy when conventional means don't work. It is a film of circumstance to be sure.

Katherine Mallen Kupferer, Keith's daughter in real life, plays his daughter on film which can't be easy because she has to reflect both his rage and talent at certain points. It takes good chops for example on Keith's part to play a regular joe no good at acting, watching him learn and then give a dynamic performance in the final moments with still being natural throughout. His daughter keeps up with him and reflects this but we have to see the journey that the character himself is trying to deny. It is not easy and the film does not push at an accelerated pace so it has to lumber a bit. But it feels earned which is not something most films can say.

Tara Mullen, also a Chicago Wolf alum, plays Dan's wife Sharon who also has been doing heavy lifting by being strong and reflecting without coming off as wishy-washy or at times even verbal. One moment she has with Dolly De Leon (who plays Dan's scene partner Rita) is undeniable because it is such a simple gesture and yet the film had been building up to that. De Leon (who was seen recently in "Triangle Of Sadness") is a powerhouse because she understands but also is able to convey aspects of the script that are very much unsaid. O'Sullivan's writing lets this work but also lets it breathe. The community theater aspect gets at times a little corny and meta but it works in the parallel to the actual real story. This is a tragedy reflected in the play and though we don't know the full gist of what transpired before the film begins, we see the aftermath. But what also works is that the film doesn't need to explain it anymore. It can just be...like the characters. B

By Tim Wassberg