WATCH THE TRAILER HERE
First, the Recap:
THIS is how it’s done. Have we not heard this exclaimed from so many a person, perhaps more during a debate between multiple parties in the context of needing to accomplish a set goal, one objective, that gets hampered when everyone involved believes THEY have THE key for achieving it in the most efficient, established manner. We look up to those who seem to represent “the standard”, but what if we found out that their lofty knowledge may not hold the answers we seek–or actually require? Aspiring filmmaker Nilah (Brandi Nicole Payne) idolizes indie auteur Claire Adams (Liz Sklar). However, when an attempt to gain a mentorship with Adams ends up going a decidedly different way than anticipated, it shines a revealing, eye-opening light on everything all those involved held in mind as “the norm”, and all the ways it has to be broken.
Next, my Mind:
While executed in a totally different manner and with a bite that is both scathingly satirical, undeniably, darkly humorous, and playfully dramatic in its thriller-esque intent and tone, this 74-minute feature film effort from writer/director/producer Moez Solis very much becomes a definitive ode to the precarious path that is filmmaking and all the conventions associated with it that are seen as THE way to make it happen, as was similarly addressed in Mike Messier’s documentary short “Disregard The Vampire“. Here, though, the concepts are addressed via a devilishly clever narrative that finds its foundational thematic aims via what could have been a simple kidnapping caper which turns into an entire exposé of the movie industry as seen through the eyes of multiple, highly-stressed individuals.
The beauty of it is not that they just talk about said “rules” and criterion between themselves, but they end up acting it all out even as they speak, which only makes the taunting irony of it all even more pronounced and highly entertaining, especially in the grander context of the main character’s original goal–just to ask for her idol to mentor her. It’s a topsy turvey exploration of all the facets of the creative process that get upended by everything from funding issues, interns, unneeded gimmicks, poor writing, cliches, on-set heriarchies, film lengths, business vs. art, backstabbing, double-dealings, etc. But what it might really come down to is the sheer fact that some people will just do anything to get ahead, no matter the cost.
The ongoing brilliance of this, though, is HOW this all unfolds throughout the course of the film and hence why mentioning those aspects above is truly not giving anything away beyond the surface, as sitting there watching the de-evolution of these people’s notions about the industry is hysterical yet so overtly real, grounded in truths that the indie film realms in particular have excelled in exploiting for so many a quality end product, as is the case here. The story is also told with a mix of present action and flashbacks which add greatly to the narrative’s course, and the finale is one for the ages for this critic, making all the insanity that leads up to it even more necessary and allows for the delicious twists and turns we get over the course of the film’s runtime.
The project is smoothly presented visually, with the camera embracing its characters with perfectly clear, concise purpose, creating the air of enigmatic tension while not quite taking itself too seriously during specific moments. There is film terminology galore that ushers forth and even that in itself is wonderfully entertaining for those who can appreciate what the film’s ultimate realizations are and what it is exposing about the industry. I felt it is also an illustration, even beyond filmmaking, that so much of what we take as the Gospel can end up becoming more damaging to our mindset and artistic designs, becoming to worried about maintaining appearances that constructing a viable piece of art.
Ensemble casts are superb when they flow together, and here is a fantastic example of it. Payne is so engaging as Nilah, an innocent wanna-be filmmaker who takes an awkward but purposeful leap of faith to gain the insights of her filmmaking idol. Once in the predicament that ensues, Nilah’s straightforward, by-the-book approach to things clashes wholeheartedly with her idol’s ideas, and it makes for beautifully fun sequences throughout the story, with Payne chewing up scenery as often as possible. Likewise, Sklar excels as the haughty indie filmmaker Adams, whose own sense of self-righteousness is only overshadowed by a tenaciously hidden inner struggle with her own shortcomings as a person and as an artist just trying to make her mark, but having done so via a less-than-scrupulous process. Seeing her character’s slow transformation over the course of the film is magical, and only makes the ending even more satisfying and strangely poignant, so fiercely, affectingly played by Sklar.
Mike Bash also shines as the leader of the gang that kidnaps Nilah and Claire, Mr. Owl, whose own incessant rantings about all that’s wrong with filmmaking fuels his rage against Claire and by default Nilah. Plus, his control over the rest of his crew is becoming tedious at best, and how he attempts to keep things in line is quite witty, well enacted by Bash who more than brings a huge level of bravado to the role with excellent success. Michael James Kelly, Santiago Rosas, Julie Lockfield, and Corey Jackson round out the primary cast as Mr. Raven, Mr. Emu, Mrs. Hawk, and Mr. Pigeon respectively, the rest of Mr. Owl’s gang and who have more than their fair share of individual quirks that come out in force as events unfold, all in a fashion that magnificently showcases each of their attitudes towards what they’re involved in while revealing how they fit togther as a grander portrait of everything wrong with the filmmaking industry. Perfectly acted by all.
Additional appearances are made by Mary Ann Rodgers as Claire’s Shakespearan-influenced mother Julia and Geeta Rai as a local physician (yes it is true), Dr. Zhivago in addition to many other supporting players. So, in total, “The Mentor” is wholly entertaining, with well-orchestrated twists, a wicked ending, and should honestly be viewed by as many aspiring filmmakers as possible. Because just like any film, from indie to Hollywood, look deeper underneath the surface, and there are worthy truths about what filmmaking, its processes, and all involved with it SHOULD ideally be about. THAT is way it needs to be done! Period.
As always, this is all for your consideration and comment. Until next time, thank you for readin
