THE STORY – The summer of 2002, and the senior year of high school, is on the horizon for best friends Minnie and Callie. As the golden child of their North Little Rock High School in Arkansas, Callie is the shining star of their school’s drama class. Minnie is her reliable shadow, who would much rather be prompter than be on stage herself. Growing up in Callie’s protective orbit means Minnie is a welcome guest at her friend’s upper-class home, where Callie’s elegant mother, Helen, feeds them with delicious food and attention. This is in stark contrast to Minnie’s hard-scrabble life outside school, where she lives in a cramped, cluttered apartment with her mother, Barbara, a vet who cannot resist hard-luck cases. When Callie and Minnie’s friendship is suddenly upended, Minnie is left rudderless. As the school year begins, she faces the challenge of establishing her own identity and starts to pull away from Barbara, forming a complicated relationship with Helen.
THE CAST – Sophie Okonedo, Katherine Mallen Kupferer, Chloe Coleman, Tara Mallen & Iman Vellani
THE TEAM – Kelly O’Sullivan (Director/Writer) & Alex Thompson (Director)
THE RUNNING TIME – 120 Minutes
“Ghostlight” and “Saint Francis” filmmakers Kelly O’Sullivan and Alex Thompson return to the big screen with “Mouse,” a deeply personal exploration of grief told across two generations, featuring Katherine Mallen Kupferer’s Minnie and Sophie Okonedo’s Helen. The tragedy that occurs is shocking, no less so for a teenager whose entire life centres around school and friends. Losing a best friend is bound to shake anyone, but here it reinvents coming-of-age traditions into something deeply humane and impactful.
The film begins with seniors at North Little Rock High School throwing endless rolls of toilet paper at the houses of two juniors. Those juniors are Minnie (Katherine Mallen Kupferer) and Callie (Chloe Coleman). The two are inseparable best friends who do everything together. However, they are quite different as people. Minnie does well in school, whereas Callie lags behind in her grades. The two are opposites when it comes to popularity, with Minnie having only Callie as a close friend. Minnie’s world is turned upside down when Callie suddenly dies in a car accident. It is a shocking turn that comes out of nowhere.
With little time to process the loss of someone so special, Minnie is forced to continue with her everyday life. She goes to work and attends school as usual. But she is lonely and seeks comfort in Callie’s mother, and the two bond over their love for Callie. At school, Minnie signs up for the cabaret, where she plans to perform one of Callie’s songs. The whole show serves as a tribute to Callie, with some of her friends wanting a more overt tribute and others opting for a subtler approach.
O’Sullivan and Thompson are interested in the human condition and capture it here with a tender, loving yet honest touch. Everything feels natural, as the actors are given room to authentically discover their characters’ humanity and bring it to life in this story. Every line and every look feels real. This effortless naturalism is paired with luscious, nostalgic visuals that echo the era in which the film is set. Co-cinematographers Nate Hurtsellers and Luke Dyra shoot the film in a stylistic manner that highlights the sun-drenched youthful highs and isolating lows the characters experience.
“Mouse” is seriously funny at times. There are countless laughs throughout the film. Notably, Callie’s supposed best friend, or so she claims, Cara, is a great source of laughter. She proclaims, “I’d marry Brittney for her values and kill Christina because she’s a skank,” while playing F marry kill with Callie’s father and her friends. O’Sullivan really understands the younger generation. Her writing is relatable, quirk-filled, and specific to that generation of young American women. The film is often charming and genuinely funny, while also being profound in the right measure.
It does not shy away from being a coming-of-age drama, despite upending the natural course of Minnie and Callie enjoying and growing together in their senior year. Instead, Minnie’s journey becomes largely defined by grief, but she continues to grow up while grappling with loss. She has her first kiss, gets drunk at a party, and steps out of her comfort zone as she becomes less shy. These are all major steps in Minnie’s journey, similar to those taken by most protagonists in coming-of-age films. O’Sullivan has a few twists up her sleeve, including Minnie’s interest in a local video store worker (Iman Vellani). It is a charming development, as she finds someone she cares for again, bringing happiness back into her life in a different way.
Sophie Okonedo delivers a devastating performance as Callie’s grieving mother. She is both kind and blunt in equal measure, bringing a touch of dry British wit to an otherwise all-American film. She has many great moments with Katherine Mallen Kupferer, who plays Minnie, as they form a bond through their shared grief. Kupferer herself is excellent, standing out for her precise portrayal of the teenage experience and the many stages of grief. She has a charming presence that radiates through the screen. Funnily enough, Kupferer is joined by her real-life mother, Tara Mullen, who plays her fictional mother in the film. Their back-and-forth is so natural that it quickly becomes evident they are extremely comfortable with each other. The rest of the ensemble is strong, and their performances are a testament to the director duo’s eye for talent.
Each person is unique. No one deals with grief in the same way or experiences it equally. Losing a child is possibly the worst thing imaginable, but losing a best friend is just as impactful and redefining, especially at such a young age. The film explores moving forward, setting boundaries, and finding self-worth amid endless grief. Feelings of denial and anger, to name just a few, are all valid. The film is potent and heartfelt on the surface, but beneath that surface, it has something thoughtful to say about humanity and grief.
Kelly O’Sullivan and Alex Thompson have made something special here. It certainly made an impact at its Berlinale premiere. The story is emotionally gripping while also having fun and not shying away from its coming-of-age sensibilities. It is a naturalistic gem that demands to be seen. There is little wrong with the film. It seems the co-directors and partners in life have truly hit their stride with a third great film in a row.
