Film Review: ‘Chaperone’ directed by Zoe Eisenberg
Rating: ★★★☆☆
Zoe Eisenberg’s “Chaperone” marks its debut at the 30th Slamdance Film Festival’s BREAKOUTS section, offering a narrative that subtly explores psychological dimensions. The film, while not groundbreaking, effectively navigates themes of identity, acceptance, and societal expectations.
The decision to commence with a climactic scene, despite being a tried-and-true approach, effectively captures attention. Mitzi Akaha’s portrayal of Misha demonstrates a nuanced depiction of anxiety and introspection, setting the stage for a character-driven narrative.
Symbolism plays a key role in the storytelling, particularly in the opening scene. The breaking glass and the subsequent use of psychoanalytical symbolism portray characters as prisoners of their choices. While the technique may be conventional, it remains engaging.
Misha’s role as a ticket clerk in a theater introduces a psychological layer to the narrative. The cinematic space becomes a refuge, allowing her to adopt different personas and distance herself from personal traumas. This subtle exploration of psychological escapism adds depth to the character.
Jessica Jade Andres, as Kenzie, delivers a line that becomes a thematic anchor, encapsulating Misha’s passive role in her own life. This recurring motif of passivity threads through the film, providing a psychological undercurrent to Misha’s character development.
Symbolism continues to permeate the storyline, from the deteriorating parental home to the adhesive on the refrigerator doors. These elements, while effectively portraying societal disappointment, may feel somewhat predictable in their psychological representation.
The unconventional relationship between Misha and a younger athlete introduces a psychological motif of hope and acceptance. The film deftly handles this theme, portraying the adhesive on the refrigerator doors as a psychological balm for Misha’s internal wounds.
The musical score, with intermittent guitar compositions, complements the narrative by injecting a sense of hope and desire for life. While not groundbreaking, it provides a subtle psychological backdrop to Misha’s journey toward self-acceptance.
Cinematography captures the nuances of Misha’s emotions, from laughter to moments of introspection. Visual metaphors, such as Misha washing against a mural reflecting her drowning state, contribute to the film’s psychological depth without being overly explicit.
The recurring motif of a spider’s web adds a poignant psychological layer, symbolizing the fragility of happiness and hope. This subtle suggestion enhances the film’s thematic complexity without overshadowing the narrative.
Despite familial and societal disapproval, Misha’s defense of her relationship with Jake introduces a psychological defiance against societal norms. This element adds a layer of tension, marking a departure from conventional storytelling.
Misha’s character arc unfolds as a gradual psychological awakening, leading to a tragic denouement where she grapples with the consequences of her choices. The film culminates in a poignant scene symbolizing a psychological new beginning rooted in self-acceptance.
“Chaperone” may not break new ground in cinematic storytelling, but its exploration of psychological themes, anchored by solid performances, makes it a noteworthy addition to the character-driven drama genre. The film adeptly balances conventionality with moments of depth, offering audiences a thoughtful experience.
