ScreenFish

where faith and film are intertwined

Avan Jogia

Door Mouse: Facing Modern Monsters

by

Hell hath no fury like a Mouse scorned?

Written and directed by Avan Jogia, Door Mouse tells the story of Mouse (Hayley Law), a comic-book creator who earns her living working at a burlesque club. Hanging out with her friend Ugly (Keith Powers), Mouse carries herself with confidence and strength, even if she can?t seem to catch a break. However, when young women from her circle begin to disappear, Mouse scrambles to find out the truth about her friends, even if it means stepping deeper into the shadows.

Unflinching and uncompromising, Mouse is a neo-noir that burns with heat. The noir genre is often imitated with its filtered colours and voice-over narration but, frankly, it doesn?t always leave an impact. However, Door Mouse has such a fury in its soul that one cannot help but be drawn in. Through bleeding colours and endless shadows, Jogia creates a world that simply feels broken. The lines between right and wrong have all but been eliminated, leading to a world of blended morals and endless compromises. 

At the same time though, Jogia gives his film a punk rock flare that fuels it with energy. Although the air is heavy, there?s a frenetic nature to the film that builds in intensity as it unfolds. (This is best exemplified by Jogia?s use of graphic novel art to tell some of the film?s most brutal moments.) This unique blend of styles leads to a truly fascinating piece that digs into the evil of our world as it looks for some (any?) good.

Leading the charge though is an absolutely fiery performance from Law. As the emotionally disconnected and electrically-charged artist, Law is absolutely magnetic onscreen. Traditionally, the noir protagonist carries under a hard-nosed persona but requires a certain charisma but the strength of Law?s performance shines through. Despite living in a broken-down apartment, Mouse is an empowered woman, confident and fearless in all she does. Although she isn?t looking for trouble, neither does she accept it amidst her own circle. As such, Law steps into in this world with a burning fuse, willing to get her hands dirty if it helps protect and empowerd other young women.

Now, having said this, Door Mouse may not be for everyone. As is keeping with the genre, Mouse?s journey takes her into some dark and disturbing corners of modern society. As a result, it?s worth noting that Mousemay be uncomfortable viewing for some?and, in fact, it is meant to be. 

After all, Door Mouse is very much a story that wants to explore the nature of today?s monsters. Without giving away any spoilers, the toxicity in this world is tied the need for power. Whereas classic noir films like Kiss Me Deadly and Chinatown exposed issues of their day like corruption or the nuclear threat, Door Mouse focuses on some of the seediest realities of our world, such as trafficking and exploitation. Willing to sit in the shadows of evil, Jogia points out that the truest demons of our time are those that prey upon the autonomy of others, 

Even so, he also acknowledges the power of sharing stories that shed light on oppression. For instance, Mouse?s artistic expressions become a voice for the voiceless, causing a stir amongst the community who clamour to know the truth. (?People want to know what happened?,? Mouse is reminded.) In this way, Jogia acknowledges the fact that darkness may be pervasive? but the real heroes are those that are willing to kick against it by speaking out.

In the end, Door Mouse should be a special viewing for fans of neo-noir. Blending styles and genres, there is a grit to this film that is palpable, making it one of the more memorable examples of this style in recent memory. Jogia understands the tropes of the genre yet makes them entirely his own.

Needless to say, this?Mouse?has teeth.

Door Mouse is available in theatres and on VOD on January 13th, 2023.

A Midsummer Night’s Dream – Shakespeare in Modern L.A.

by

?Are you sure that we are awake? It seems to me that yet we sleep, we dream.?

A Midsummer Night?s Dream is one of the most performed of Shakespeare?s plays. I?ve certainly seen it frequently both on stage and on film. Each production has its own unique vision of how to bring together the world of real life and fantasy as well as bridging the gap between the fifteenth century and the modern world.

The latest film, adapted and directed by Casey Wilder Mott, sets the play in current day Los Angeles (although rather than a ?Hollywood? the hillside sign reads ?Athens?). The language is still the iambic pentameter from the play, which often seems a bit disjointed when spoken, say, at a caf? in Echo Park. But that disjointedness is intentional, seeking to remind us that this is a story that takes place between worlds.

For those unfamiliar with the story, it involves three intersecting stories. The first is a four-way love story. Lysander (Hamish Linklater) and Hermia (Rachael Leigh Cook) are in love. However, Demetrius (Finn Wittrock) also seeks to marry Hermia, and has her father?s favor. When Lysander and Hermia decide to leave Athens so they can be together, Helena (Lily Rabe), who is in love with Demetrius, passes word to him, hoping to win his love. When Demetrius chases after them and Helena chases after Demetrius, they four end up in a forest at night. (Hold that thought.)

The second group is the woodland faeries (here, more beach bums). The first we meet is the mischievous Robin Goodfellow, aka Puck (Avan Jogia), who serves the faerie king Oberon (Saul Williams). Oberon?s wife Titania (Mia Doi Todd) is being contrary. So Oberon dispatches Puck to bring a magical flower that causes people to fall in love with the first person they see. (You see where this is going, don?t you?). Oberon plans on punishing Titania by having her fall in love with someone strange.

That brings us to the third group, a troupe of inept actors led by Quince (Charity Wakefield) making a film about a tragic story. The lead actor, Bottom (Fran Kranz), believes himself the greatest actor ever and should perform all the parts. Seeing the actors rehearsing in the forest, Puck transforms Bottom, giving him the head of an ass. (Although, in this version, we aren?t talking about a donkey.)

Puck ends up putting the drops in both Demetrius and Lysander?s eyes, making them both fall in love with Helena. Now no one wants Hermia. ?Helena spurns them all, thinking they are making fun of her. Meanwhile, Titania spends an amorous night with Bottom. In time all is set right and everyone ends up with who they should be with.

This is a decent adaptation and abridgment of the play. (Bear in mind that purists will rarely be happy with adapting the Bard.) Early on, there are several little quotes from other Shakespearean plays around the edges, to provide Easter eggs for Shakespeare fans. As the play moves on, it stays more with the original story. The juxtaposition of modern L.A. for ancient Athens works most of the time, but there are some anachronisms that crop up. For example, Hermia?s father?s claim that she is his property to dispose of as he likes?hardly fitting for a #MeToo world. Overall, for those familiar with the play it?s a nice way to revisit it. For those who haven?t seen it before, it can serve as an introduction.

Photos courtesy of Greg Smith