Early in her life, Bea (Kiernan Shipka) realized that her family was not the same as other children. The only child of two parents with intellectual disabilities, she Bea already enjoyed a degree of independence when her schoolmates still had their dinner cut and shoelaces tied. She was surrounded by warmth and joy, living first in a van and then in a modest house on the outskirts of Las Vegas. But she, too, felt compelled to take on responsibilities beyond her tender age.
This emphatically moving coming-of-age film was inspired by director Matt Smukler's own family: he's already explored in a documentary of the same title the story of his niece, Christine, an honors student who also cares for her brain-injured parents. . The image explores the chaos and confusion of extended families who find themselves with a common goal but no consensus on how to achieve it. She practically vibrates with the force of her good intentions. But she may be too opinionated on the message to win over a larger audience.
Director: Matt Smukler
Writers: Jana Savage, Matt Smukler
Stars: Alexandra Daddario, Jean Smart, Kiernan Shipka
That's not to say it doesn't have a potential audience. Representation is important, and depictions of developmental disabilities and cognitive impairment often tend to foreground limitations rather than the characters themselves. This is a film that resets the balance a bit, though it could be argued that Bea's parents (played by Samantha Hyde and Dash Mihok) are, at times, infantilized as characters. It's a hard line to draw, though, since since they're both of pre-adolescent mental ages, their childlike qualities are to be expected. The first feature from Smukler, who got his start in commercials, Wildflower's sprightly energy and inclusive themes should recommend it to other festivals. Beyond that, it could be of interest to a streaming platform.
An obvious thematic parallel would be with CODA: both films deal with the experience of a non-disabled gifted child of disabled parents, both films invite the audience to identify with the non-disabled character's experience rather than the disabled one. parents. It is worth noting, however, that the deaf couple's parenting fitness in CODA is never in question, but in Wildflower, the question of Bea's parents' ability to raise a child, delicately raised by a caretaker after of an accident, is central. to the history
The social worker's interviews with Bea's nearest and dearest is a device that allows us to explore her life up to this moment. And while the investigation is prompted by the fact that Bea is currently in a coma following a mysterious accident, Smukler keeps the tone light and cheerful; Bea's voice narrates the story, her astringent adolescent sarcasm cutting through her seemingly callous state.
The image that is formed, through a series of flashbacks, is that of a happy, albeit unusual, childhood. The challenges facing Bea and her family are largely financial, although the fact that Bea's diet is largely based on Oreos suggests there is room for improvement on the nutrition front. But luckily, her wealthy aunt and uncle offer to finance her education, and Bea is smart enough to find work to support the family.
The question is her, having assumed the role of caretaker, will she be able to let her parents fend for themselves? Will she dare to dream of the college option that her school counselor strongly advocates? The result won't surprise anyone: For all the embracing and celebrating of the unconventional when it comes to family, the film itself rarely strays from the tried-and-tested formula of teen coming-of-age narrative. To feel good.
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