THE STORY – As college nears, designer Mindy Scheier clashes with her 17-year-old son Oliver over his independence. His degenerative condition increasingly limits him. Mindy creates Runway of Dreams, a Fashion Week show for adaptive design.
THE CAST – Oliver Scheier & Mindy Scheier
THE TEAM – W. Zach Starr (Director)
THE RUNNING TIME – 93 Minutes
Society has, unfortunately, a habit of ignoring perspectives that don’t fit neatly into a mainstream viewpoint. Within every individual, or the collective of them which make up a specific community, a world of insight flows from the mind and offers valuable observations. Even the best of us may fail to completely recognize those who scream out to be given the basic humanity that is so easily applied to most others. That’s why such conversations are necessary to still have, and why those who live with disabilities need to continually advocate for themselves. It’s a group the larger world can too quickly dismiss or erase, which is a shame because it leaves a wealth of knowledge and experiences completely unacknowledged. It’s a sentiment that “Rare as F@*k” deeply resonates with, as it aims to expose the complicated worldview of such a person and demonstrate the amazing potential they have while trapped within difficult circumstances.
The focus of this documentary revolves around Oliver Scheier, a high schooler who has been living with the effects of a very rare degenerative condition that impairs physical abilities. However, that has done very little to break his ambitious spirit. Oliver thrives in artistry, often drawing and creating short films to express his unique sense of creativity. But his disability is taking a toll, and his desire to attend college puts more tension within the family. It’s mostly seen in the relationship with his mother Mindy, an established fashion designer who has channeled the experience of raising her son to create a new line of clothing that is made for those living with similar physical restraints. As she attempts to mount Runway of Dreams, a Fashion Week show to promote these innovative designs, stressors mount as concerns over Oliver’s condition only become intensified. However, there is a sense of perseverance within this family unit, and Oliver is determined to continue striving for the most fulfilling life he can achieve.
The rambunctious energy that is contained within Oliver’s spirited personality is the driving force that keeps one engrossed in this story. In many ways, it’s a familiar portrait of rebellious youth that many are accustomed to seeing. He proudly boasts his artistic endeavors, adorns black clothing to further emphasize his punk attitude, and freely expresses a queer identity. His illustrations are occasionally animated over narration in which he voices the frustration about his current existence. Early in the film, he is in a classroom watching scenes from “The Diving Bell and the Butterfly.” He explains what a perfect analogy that work presents to mirror his own life, trapped inside a vessel that refuses to cooperate with a mind that continues to thrive with vitality.
He’s also not afraid to show his own limitations, and how vulnerable that makes him out in the world. He records an incident in his bedroom after he’s accidentally fallen, and the struggle to lift himself off the floor is both a heartbreaking display, but also inspiring to witness his perseverance. Exiting a clothing store presents another challenge, with no railing to hold onto and he’s forced to lean onto his mother in order to reach the top. It’s a sad reminder about his reliance on others for help, but it doesn’t dampen his steadfast determination. The same is said for when he’s forced to get a scooter to aid with his mobility issues. It’s an action that undercuts his need for independence, but he finds the light among the darkness when challenging his dad to a race and making humorous observations about his father’s wish to “disable” the annoying horn. Even in moments that could discourage him, there’s a strength he finds that is compelling to see. Director W. Zach Starr utilizes some stylish flourishes, making sure the cinematography can occasionally capture glimpses of hazy sunrises or frantic pacing to match Oliver’s inventive mind. The filmmaking doesn’t always go in for flashiness, but there’s enough to keep things intimate and compelling.
However, Oliver is not the only narrative we see unfold. Mindy’s professional life is given nearly equal weight as the pressures of putting on this elaborate fashion show begins to take its toll. She’s a supportive figure but also worries about the struggles her son faces. That apprehension is what inspired her to produce this clothing line, to give access to those who struggle with societal conventions a way to embrace the joys that are often elusive. There’s no doubt it’s a noble cause, but in all honesty, it comes across as a distraction as well. Oliver has no real part in the preparations aside from supporting his mother, and most of the interviews here are with the models who have a diverse background of afflictions for which these clothes need to adapt to. It’s no doubt an important facet that’s worthy of elevation, but it runs counter to the film’s more intriguing storytelling aspects. Despite the good intentions, it’s hard not to feel like the film gets hijacked to promote a business rather than focus on the journey of its protagonist. It’s a decision that makes the pacing become uneven, and this examination feels slightly more hollow. An even more in-depth showcase of Oliver’s life is left unfulfilled, which is a shame given what is seen presents a more interesting observation.
“Rare as F@*k” is at its most poignant when its focus is honed sharply on Oliver’s venture. He’s such a magnetic presence on screen, and it’s clear that he has such a lust for life. Even though he struggles with physical restrictions, it does little to squander the excitement he has to continue onward and experience the wonderful bounty that the future can still hold for himself. The way he can show vulnerability but unshaken resolve is a marvel to behold. It’s just a shame that the film itself doesn’t seem to be occupied enough with his story on its own. Highlighting his mother’s philanthropy is an endearing detail, but one that totally excludes what should be the sole focal point. Instead, the storytelling becomes less cohesive and slightly more tedious to get through. Even still, there is an appreciation that this section is meant to underscore what every interaction with Oliver is supposed to demonstrate. He is a magnificent human being that deserves to be seen that way by our larger society. In that respect, it’s hard to not be charmed by his winning attitude. The film’s call to give those who could easily remain invisible the chance to celebrate in their pursuit of happiness is a rousing message to receive.
