‘Ghostlight’ Review – Intimate Drama Rewards With The Beauty & Pain Of Life

Kelly O’Sullivan and Alex Thompson make movies for the heart, not in sentimental or surface-level ways, but in a way that truly considers the complexity of emotions that pulse through all of us. In their feature debut Saint Frances, the pair tackled the “directionless protagonist finds purpose in unexpected places” subgenre with all the grace and nuance that made it an instant classic. The script found emotionally honest ways to tackle complicated issues in a way you can only find outside of the studio system. The duo planned to scale up with a follow-up project that was waylaid by the strikes last year. While we still long to see that project, this was somewhat of a blessing in disguise now that we have Ghostlight, an intimate project that makes you feel alive with all of the beauty and pain that life has to offer. 

We don’t think much when we first meet Dan Mueller (Keith Kupferer), a nondescript construction worker who only steals a bit of attention when his temper rightly flares up after nearly getting hit on the job by a careless driver. We start to get a bit more insight into the man behind the safety vest when he is called to the school of his 15-year-old daughter, Daisy (Katherine Mallen Kupferer), for disciplinary reasons. While not uncaring, this stoic man takes a slight backseat to his wife, Sharon (Tara Mallen), an educator herself, when talking to the principal (a familiar face for Saint Frances fans). There is an underlying tension throughout this early part of the movie that manifests most frankly in the youthful Daisy. It would be understandable if her oversized emotions felt a bit intense for the audience at first, but as more is revealed you realize she is incapable of putting up the walls found elsewhere in her household. 

This is a family plagued by a cryptic tragedy that the audience discovers in gentle waves of information rather than a clumsy exposition dump. O’Sullivan is the mastermind behind the script once again, and her delicate touch never misses a beat. Simple moments such as Dan quietly expressing the sadness of watching “murder shows” reveal so much about his character. This on-screen family is portrayed by a real-life family which lends a familiarity to these characters that aids in your emotional investment despite the chilly circumstances.

The table setting quickly gives way to the primary story when Dan is coaxed into joining a community theater group by the spirited Rita (Dolly De Leon, Triangle of Sadness) following another public temper flare-up. Dan is completely out of his depth, and it is actually believable that this particular character would not be familiar with Romeo & Juliet, which they are rehearsing. He is a man holding so much pain just under the surface, and, as Rita deftly deduces, he seems like he “might want to be someone else for a while.” 

Thompson and O’Sullivan explore many different themes to great effect through this journey of catharsis. The world lost so much with the global reckoning that was the recent pandemic, perhaps most of all the idea of unbridled connection. The act of live theater is thrilling for lovers of art, but it goes beyond that. Through weeks of practicing and breaking down walls, the performers solidify a connection that transcends simple explanations. To create with and trust one another is an act of vulnerability that does not come naturally to Dan. 

We see throughout the film that Dan sets the mood of the homefront, and he refuses to engage with his feelings even when asked to come to Daisy’s therapy session. However, when he steps out of “reality” and into the world of fantasy on stage, he eventually reveals the details of his trauma to his new cohorts. It is a moment of exceptional acting from Keith Kupferer, but it is the response from his found family that creates a stunning moment of true compassion. The film does not hold your hand when it comes to the titular ghostlight, but this tradition of theater rightly complements this story of having a space where darkness will never completely consume you. 

As much as Dan’s story is front and center, the movie rightfully ensures that the supporting players are as well-rounded as can be. Dolly De Leon’s Rita especially speaks to us with her precise balance of punch-you-in-the-face fearlessness and sadness from a life unfulfilled. Rita is a great actress with experience on a professional stage, but she is a classic case of someone who never broke through. In the comfort of community theater, she is finally able to play the role of Juliet that she always dreamed of playing as an ingenue herself. We get effective glimpses into her insecurities during the rehearsal process, but Dan attempts to echo the support he receives when possible. 

It is gratifying to see the impact that theater has on Dan experienced by Daisy, as well. The teenager was already a devotee of the stage previously, but she had lost her spark for it as her family plunged into darkness. Seeing this spark reignite in a different context is just as impactful as seeing it work for her father. Yet, the unsung hero of the film is family matriarch Sharon. Out of the main characters, she is given the least to do thanks to Dan’s foolish decision to hide his new extracurricular activities from his family for too long. When she is present, though, she is a vital piece of the puzzle. She is a loving wife, but a key line from her late in the film completely saves this feature from being an unchallenging crowdpleaser. Leave it to Kelly O’Sullivan to bring attention to the emotional labor women have to undertake for men. It doesn’t take the wind out of the sails of the movie; it helps it flow to another level of excellence. 

For a film that deals with the processing of unimaginable loss, there is a hopefulness to the execution that sneaks up on you and leaves you on a high. We have all lost something to varying degrees over the last several years, and it can be a lonely road trying to find normal again. This is what makes discovering a work of art such as this so worthwhile; for a couple of hours, this feature allows you to feel a part of something special. Ghostlight is another truly rewarding gem from one of the most exciting creative teams in the business right now for those who long for emotional truth. 

Ghostlight will debut exclusively in theaters in New York and Chicago on June 14, 2024, courtesy of IFC Films. The film will expand to additional markets in the following weeks.