By – Gareth Jones

For fans of independent dramas, the power of art to heal, Shakespeare adaptations

According to Wikipedia there are over 160 direct or inspired by adaptations of Romeo and Juliet in the history of film and television.  I would venture to guess that there are none quite like the most recent Ghostlight.  It really is about a tale of grief and the healing power of art, but it also confronts head-on the fact that Romeo and Juliet is about two teenagers who commit suicide.  That tragic aspect has become a cliche in romantic stories.  A love that is doomed resulting in self-destruction.  Ghostlight examines the ramifications of suicide in a powerful, unrelenting way that ultimately moves the audience to analyse their own experiences with love and death.

The film is co-directed by two young and extremely talented filmmakers. Alex Thompson has now directed three feature films including his other collaboration with Kelly O’Sullivan.  That film was Saint Francis in 2019, which starred O’Sullivan.  She wrote that film and has followed it up with this astonishing film, now also serving as co-director.  It was the opening night film at Sundance 2024 and deserved that placement.

It tells the story of a family struggling with grief.  A tough construction worker father Dan (Keith Kupfeper), his teacher wife Sharon (Tara Mallen), and their on the verge of expulsion from school daughter Daisy (Katherine Mallen Kupfeper).  Like a moth to the flame, Dan is drawn to a non-professional theater group putting on a production of Romeo and Juliet, and he is cast with a variety of folks with varying levels of experience. As you can see from the names of the actors, this family is played by a real life family.  That level of intimacy between them would be impossible to recreate.  As such, their dynamic is immensely believable and adds tremendously to the realism of the film and story.  It is a brave and brilliant decision on the filmmakers part and they found a trio of actors who were up to the task.  They three have had small roles in various other films, but I feel this film will launch them to a higher level of recognition.  Don’t be surprised if like last year’s Past Lives this film has several award nominations for acting and direction.

In addition, they cast a fire-brand actor, Dolly De Leon, who had just had an extremely memorable role in Triangle of Sadness as Abigail.  She is magnificent here as well, as the experienced performer Rita, who sees in Dan the need to perform. The rest of the ensemble is well cast but it is the lead roles that allow the audience to connect to these characters so completely.  I particularly loved how the troupe ends up with Rita as Juliet and Dan as Romeo.  It is absolutely right, but not for the romantic elements that might be found in a traditional Hollywood movie.  Here, it is so powerful to see two older performers in these roles.  It lends a meta-level to the film that does not scream as pedantic, but is natural.  That natural development is very difficult to achieve.  The directors and actors connected in a theatrical way, but also created an environment for lived experiences.  It is a difficult thing to pull off, but they do it here.  It reminds me of the film Once in how natural it felt.

This film is a rare commodity.  It deals with an extremely difficult but universal experience, one of grief.  It does not insult the audience with fake emotions or overly dramatic elements. It feels real and genuine.  It is a testament to the filmmakers and everyone involved that it pulls off this feat.  It shows how art can heal. It is a cliche, but that is because it is true.  Go see it with someone you love.  You will be grateful for the experience.

Now available to stream but if you can still catch it in a theater, do it