WATCH THE TRAILER BELOW
First, the Recap:
The desire to be noticed, acknowledged, the one doted on, and given attention. Whether we tend to have this as a typical behavioral trait or not, none of us can say we’ve ever been immune to the notion that WE wish to be shown the kind of heed we see another getting in spades. That feeling of being left behind while watching another possess what we wish we could is an age-old plight, and when those being lavished with everything often seem to be a little more than full of themselves, it only makes us then start to conceive just how WE might gain the upper hand–for better or worse the means to do so. Tony (Mark Smith) is a vibrant young man with Down syndrome who’s already battling with existing frustrations about life. When another, often disruptive resident in the community house he resides in, Michael (Daniel Ryan) begins to get on his last nerves, Tony starts to contemplate drastic measures to change the situation. Will cooler heads be able to prevail?
Next, my Mind:
There is one absolute fact that’s out there, and that is that Irish cinema is having a massive and hugely successful resurgence recently. After last year’s multitude of Oscar nods AND some wins (ultimate Live Action Short winner “An Irish Goodbye” reviewed right here), there’s no question the Emerald Isle is once more becoming a force to be reckoned with in the film world. And now we have another Oscar qualifying short film project to prove it, hot on the heels of its predecessor’s awards run, thanks to writer/director Aisling Byrne, producer Killian Coyle, and executive producer Maggie Ryan. Choosing to exercise a shared approach by featuring a character, actually multiple ones this time, with Down syndrome in the lead, don’t remotely let that make you think of the move as some form of “crutch” the creators were capitalizing on due to the aforementioned effort’s successes. Superb filmmaking is superb filmmaking, at this film is NO exception to that.
This time, the narrative is centered around a young man with the genetic condition whose life is starting to fill up with a little too much tension and building anger at the community house he lives in when a fellow Down syndrome resident’s nightly outbursts and penchant for getting what he wants frays the former’s patience to a breaking point, causing him to scheme how to end it. What I first love about how this venture is addressed is that it already makes a point to illustrate how we as people tend to let things slide to a certain extent before finally realizing something might need to be done. We don’t (or shouldn’t) SEEK conflict, but sometimes it finds US and the point of choice arrives. The story doesn’t sugarcoat a single bit of the strife Tony is facing in his own world, much less how he’s attempting to deal with the “success” of another who certainly seems to have a serious prima donna complex, the Down syndrome and associated effects it can have notwithstanding.
It’s quite raw, really, in both humorous and heartening ways as the film progresses, bouncing fluidly amongst Tony’s struggle with modern technology, his need to fix that issue, and then also confronting the now-raised-to-fever-pitch differences he’s holding within himself towards Michael. There’s a definitive thematic bend about jealousy here paired with the basic longing to just BE seen and treated well, too, not allowing demonstrative attitudes (even if not all preventable) from being the ones to get ALL the attention. Additionally, how we try to abscond from a given situation, how we escape proverbially or literally, gets apropos screen time here, as well as the probing for a better solution being showcased. The facet of how WE might be observed when not realizing it and then finding out through another’s perspective is then addressed with incredibly well-done delivery here, and it puts an air of humor back into the proceedings that then carries through to the UTTER GEM of a finale, where ONE action and accompanying statement sums up the WHOLE course of events SO extremely (and hilariously!) well.
Folks, this critic is not at all being flippant when declaring that it IS a true GIFT to watch these actors with Down syndrome perform, because for me, it should convincingly and conclusively put the haters and those who make fun of disabilities SHUT THE HECK UP, as what we are provided here is adept, intelligent, entertaining, and SKILLED, just like in last year’s “An Irish Goodbye”. First up, Smith tackles his role with endearing class and all-out vibrancy through playing Tony, an under-appreciated young man who only wants to be accepted and seen as valued and worth paying attention to while doing his level best to be a good person (even beyond a little “sticky fingers” tribute to his boss at the local store where we works!). While trying to get his method of peace and calm fixed, existence at his place of residence becomes overwhelmingly difficult thanks to a highly obnoxious habitant whom he resents more and more.
Watching how this atmosphere of stress and pressure bubbles up in Tony is a palpable and entirely understood dilemma, and how Smith so beautifully navigates the character through this entire tale with both excellent humor and equally intense dramatic flair is so enjoyable to watch, relatable regardless of his condition. An astute performance through and through. Primary supporting turns arrive via Ryan as Michael, a conspicuously confrontational and emotionally volatile occupant in the home who also manages to pretty much make everything about him and gain what he wants. As his demeanor continues to upend the home consistently, a celebration party for his birthday only exasperates the entire situation, even when he’s oblivious to it. Ryan imbues Michael with SUCH a grating aura and explosive unpredictability, an altogether tribute to the actor’s talent that assuredly rises WELL beyond his literal condition.
Lauren Larkin plays Siobhan, the manager/caregiver at the community house who is quickly finding herself at an impasse with precisely how to deal with her most unruly ward, mostly realizing her hands are tied, even when another is asking her to take action. Larkin definitely embodies that present strain through her performance as Siobhan. Jackie O’Hagan is a complete joy to witness through her role as Ruth, yet another resident in the community home who tends to let silence and her facial expressions speak for her, but who also ends up becoming an unexpected catalyst for healing and laughter that is so greatly needed. The actress is just SO funny in the manner she plays Ruth, once more a recognition of talent soaring above disability. Simon Delaney is Gerry, Tony’s boss at a local convenience store who doesn’t ultimately SEEM to really have one genuine iota of compassion or tolerance for Tony as a person, even though on the surface he does treat him nicely and with what we HOPE is sincere respect. The initial banter between the two in the film’s first act IS straightforward but undeniably witty, which Delaney conveys smoothly.
Clare Monnelly is Paula, a social worker decidedly on a mission to ensure Tony actually DOES get what he’s earned at his job, more than willing to interject herself into their initial conversation occurring at the store in order to advocate for her client’s currently non-existent remuneration. Additional supporting turns come through Gerard Kelly, Bryan Busteed, Orla Gildea, Sara Deboer, and Amelia Deckard. So, in total, “Headspace” unflinchingly, smartly, irrefutably paints a comically and dramatically persuasive tapestry of the way we mentally hide away so much of our frustration until it’s forced to the surface to be dealt with and the subsequent factors that can unexpectedly bring us back to our senses and show us a much more constructive path to peaceful resolution. And, ideally, a working set of headphones to drown out unneeded noise!
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
