WATCH THE TRAILER HERE
First, the Recap:
Aftershocks. Not always the term we wish to hear if just having experienced the event that is most commonly associated with it–earthquakes. But, it is so far beyond just its more formal utilization, as it can also be applied when it comes to occurrences we individually experience that shake us to the soul, leaving an indelible mark upon us, and altering how we choose to perceive the world around us. When something of this depth strikes, do we press in to those closest to us, or perhaps turn to a greater, highly debated, more–otherworldly–source for help and healing?? It is the early 1980’s, Roswell, NM, which reveals a doting mother Wendy (Arielle Bodenhausen) and her young daughter Mayday (Kylee Levien) coming out of the unthinkable. What they face is more than enough to deal with. But whether they, and the world, can recover from it all soon leans upon looking to the stars, plus to supposed visitors at a notoriously well-known locale, for the answers, and inner absolution, in a quest to find peace.
Next, my Mind:
Nostalgic but stormy history meets extraterrestrial-driven sci-fi meets an impactful portrait of the human condition meets the absolute necessity of mental health awareness through this beautifully executed, 110-minute indie feature film that arrives to Earth courtesy of writer/director/producer/executive producer/editor Richard Bakewell plus producers Lorna Daniel Dupree, Patrick Dupree, Glenn Louise Evans, Larissa Costa Evans, Anthony Michael Hall, Daniel S. McCoy, and Vicki Packman, firmly landing on terra firma with a plentiful bounty of well-written purpose, wonderfully vibrant imagery, and a moral for the ages when it comes to the importance of our ability as people to both compartmentalize and often too effectively hide away the pain of trauma when release is what we truly need. Addressing, in grander scope, the entire concepts of aliens, nuclear war, paranoia, how we relate to one another, and the deep-seated manner in which we try to cope with tragedy, it’s a potent mix here that is deftly and cleverly presented so as to keep you engaged in the story from start to finish, definitively an “all systems go!” undertaking.
Taking its cues from the bygone era it is set within, the narrative doesn’t waste any time pulling you wholly into immediate tension through its initial depiction of what we all hold fear about–a nuclear conflict–and the subsequent aftermath of it as it pertains to a young girl and her mother who strive to weather it and discover a path to desperately requisite recuperation, both mentally and physically, while society itself shows the ongoing scars it has all left behind–meanwhile looking to an unorthodox source for profound resolutions. Folks, this is NOT your typical “aliens are out there” film, not by a LONG shot, even with the ever-present, virtually worshipped AND much-maligned primary location the story unfolds within. For this critic, the sheer wonder and brilliance of this film is precisely HOW the alien element IS utilized here, the legitimate feasibility of it, and how it becomes both a literal and metaphorical conduit for the narrative’s course. It really adds to the film’s atmosphere in a uniquely creative way, and hence, combined with the other facets being explored here, it’s simply excellence and entertainment fusing together perfectly.
Speaking of incorporating thematic ideas together, this film dynamically utilizes drama, humor, flashbacks, and other techniques to bring them to life in quite the tribute to the 80’s era we’re entreated to, covering cliques, class struggle, the constant presence of nuclear drills, military simulations gone awry, loss of faith, exposure concerns as to radiation and its harsh impacts, the Cold War, conspiracy theories, cover-ups, delusions and obsessions, eating disorders, the cruelty of youth towards one another via bullying, motherhood and parenting, the willful steadfastness of children, pyschological brokenness and well-being, the reminder of a particular disaster of the time, and the entire belief or unbelief in UFOs/alien life all get time here and that’s still just scratching the surface for me, as I don’t wish to give anything away in how it’s all employed. As a child OF the 80’s myself (ok, REALLY just dated myself there!), even the language, the references, ham radios (!!), it was all so enjoyably fun. But, let’s not lose sight of even the basic event that does kick the entire narrative off, which from a visual standpoint just admittedly jarred me, because it STILL to this day represents one of the most awful scenarios we could encounter in our world, obviously hoping it NEVER occurs.
As just hinted at, the visuals are very well shot, with the camera’s embracing of the characters and the larger arena they inhabit crisply attuned to the events we witness, with the accompanying music score from Troy Van Leeuwen making an impression in honoring the era while still feeling contemporary as well. The finale here is what provides the ultimate, stirring, revelatory, undeniably compelling and unequivocally essential punch to the film, and its relevance to our CURRENT age is equally indisputable when viewed in the scope of recent events we’ve endured to similar, even if in general, magnitudes. Bodenhausen brings completely credible degrees of heart, intensity, and affecting vulnerability through her role here as Wendy, a mother whose total commitment to the safety and welfare of her family is paramount, especially in the face of the lingering ripples of terror and hardship she has come through. Even as she continues to try and make all good and intentional steps to keep her beloved daughter Mayday on track, events unfold which drive Wendy down an unsettled path that may or may not end up to her benefit.
It’s an ever-shifting realm of emotional upheaval, for good or bad, that Wendy experiences, and watching Bodenhausen navigate it all is excellent to witness and be captivated by. Yet another young actor blows my mind with the maturity they bring to a role, which is categorically apropos as a descriptor for the performance put forth by Levien as Mayday, a relentlessly driven, deeply opinionated, unflinchingly strong-willed yet also hurting within teenager whose suppositions and credence about life from space not only residing around but also frequently present at what here is known as Spacerock fuels her ongoing desire to seek them out as a solution to a myriad of issues she and her mother are exposed to in the wake of Mayday’s apparent communications she’s intercepted from them. But, all while trying to just make it through the conundrum that is school, nerds, few friends, two bullies, doubters, government goons, and potentially life-threatening illness, Mayday strives to make it all real in order to help her Mom. It’s honestly an exquisitely entertaining and soulful performance Levien provides us, captivating and winning you to Mayday’s plight with total ease and plenty of fire and energy.
The primary supporting roles are legion, as is often the case with feature length efforts, and so in at least doing my best here to mention as many as possible, starting with acting veteran Anthony Michael Hall as Jerry, a therapist who has a highly important client he’s been working with who’s integral to the events depicted. Another industry veteran, Dee Wallace, is Betty, a woman in dire but understandable straits when it comes to her son, his condition, and what she believes only the aliens can remedy. A third well-known actor, Lisa Whelchel, arrives as Mrs. Peltzer, Mayday’s school teacher who does her level best to keep their attention on what’s important while supporting notions about otherworldly visitors. Reginald VelJohnson is Mr. Brown, a seemingly shady government official who takes a vested interest in Mayday’s activities at one point when her dabbling in communications “hacking” goes a bit too far. Sam J. Jones, yet another well-known face, appears as Mr. Leonard, a man of authority who takes part in an intense questioning session with Wendy when her sanity begins to show signs of having departed.
Kayden Brenna Tokarski and Georgia MacPhail play Becky and Lynne, two of Mayday’s classmates who do a VERY, VERY superb job at letting everyone at school know WHO the Queen Bees are, well at least ONE of them while the other could be the hapless lackey. Romyn Smith is Jeremiah, Mayday’s only REAL friend at school and whose own curiosity about the aliens might be his undoing. Ashton Solecki is Firefly, a young woman who becomes a supremely key factor in the entire affair we’re watching. Additional supporting players include Ryan Kennedy as Mayday’s father Elliott, a man fighting his own demons, Connor William Barrett as the quintessential class nerd Ronald, MG Barnes as a pure definition of arrogant brat as Mayday’s classmate Daniel, Gricel Castineira is Ellen, Wendy’s boss, Sage Mayer is Mickey, a boy struggling with the consequences of war, Paul Jerome is Walter, Mickey’s father, Fia Cullen as another classmate Gertie, and Torrey B. Lawrence as Officer Rooks who confronts Wendy during the film’s third act, as well as Caitlin O’Connor, Luke Jones, Tony D. Czech, and a few others. All of you, sincerely, “BRAVO!!”
So, in total, “Roswell Delirium” is an adeptly conveyed, multi-faceted, consistently surprising, fully engaging, and one hundred percent stimulating, calculatedly provocative piece of independent cinema that assuredly needs to be SEEN in order to take in and feel ALL the depths of content involved as well as to realize the abundance of pertinent, applicable messages it carries with it as well. Hold your rubber Duckie close, perhaps snag a Tab Cola with a few Jawbreakers, look towards the heavens and declare “Calgon, take me away!” as you sit back and relish this gem.
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
