A ghostlight is a theatre tradition. One light is left on in the theatre after all the others have been turned off. The image of one light shining in the darkness resonates through Ghostlight, the remarkable new indie film from Kelly O’Sullivan and Alex Thompson.
Ghostlight marks the first directing collab between O’Sullivan and Thompson; although they have worked together in the past. O’Sullivan (an actor and writer) appeared in Thompson’s last two features: Rounding and Saint Frances, as well as writing the screenplay for Saint Frances. O’Sullivan again provides the script here. Their joint efforts have produced one of the most profound and moving films of the year.
The story focusses on a family living a seemingly normal existence in a seemingly normal town. But it soon becomes clear something is very wrong. Dan (Keith Kupferer) is a ball of rage; his teenage daughter Daisy (Katherine Mallen Kupferer) is acting out and in trouble at school; and his wife Sharon (Tara Mallen) is trying desperately to hold it all together. One day, Dan cracks. He’s a construction worker for the local council, and is part of a team that does road repairs. An arrogant motorist goes a step too far, and Dan reacts. Dan has previously encountered Rita (Dolly De Leon) when she’s complained about the construction noise. Now Rita invites Dan to come into a nondescript shopfront – to stop the situation outside from escalating.
Inside, a group of mostly older people have gathered. They turn out to be the local community theatre. They plan (ambitiously) to put on a production of Romeo & Juliet. Dan finds himself drawn to this quirky enterprise; but at the same time oddly ashamed of himself for it. He tries to hide his involvement from Daisy and Sharon. But Daisy interprets Dan’s evasiveness as a sign he might be having an affair. And a chance sighting of him with Rita only fuels Daisy’s suspicions.
Ghostlight is one of a relatively small sub-genre of films set in the theatre. This however is much closer to Drive My Car than, say, The Producers. Margaret Atwood’s wonderful novel Hag-Seed is even closer. The film explores the intersection between the “real” lives of the characters and the “pretend” lives on the stage. It also delves into a some painful topics, although O’Sullivan and Thompson handle them with great sensitivity. This is an emotionally wrought film, full of the everyday pain of life; but it still manages a ring of hope at the end. O’Sullivan’s script delivers a powerful message about the healing value of art.
DOP Luke Dyra brings a crisp, clean aesthetic to the film; something counterpointed by Quinn Tsan’s lyrical score. O’Sullivan and Thompson keep things moving along in an almost dreamlike way. Moments that could have been played for laughs are dialled back, and take on different meanings. That’s not to say there isn’t humour in the film, but it’s a more restrained humour.
In a remarkable piece of casting, Ghostlight features a real family as the fictional family in the story. Keith Kupferer (Widows) and Tara Mallen (Contagion) are a couple; Katherine Mallen Kupferer (Are You There God? It’s Me, Margaret.) is their daughter. And while working with family can be challenging, in this case, they pull it off. Katherine in particular is a standout in a very demanding role. Hanna Dworkin is engaging as the theatre group’s long-suffering director. And then there’s Dolly De Leon (Triangle of Sadness), who’s once again wonderful as the forthright Rita.
Ghostlight is a fantastic indie film, full of intelligence and heart. This is the kind of movie that’s sadly becoming less common on our screens; and that would be reason enough to see it. But this is such a fine example of the filmmaker’s craft, you really should seek it out if you can.
David Edwards
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David Edwards is the editor of The Blurb and a contributor on film and television