Shadows on the Wall

Backspot

dir DW Waterson
scr Joanne Sarazen
prd Devery Jacobs, Martin Katz, Alona Metzer, DW Waterson
with Devery Jacobs, Evan Rachel Wood, Kudakwashe Rutendo, Shannyn Sossamon, Thomas Antony Olajide, Noa DiBerto, Wendy Crewson, Olunike Adeliyi, Emmerly Tinglin, Adrianna Di Liello, Marlee Sansom, Bria Grace Mitchell
release US Mar.24 sxsw,
UK Mar.24 flare
23/Canada 1h33

TORONTO FILM FEST

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Centred around teen cheerleaders, this Canadian drama has plenty of punchy energy in its handheld camerawork, raucous song score and high-energy acrobatics. And the cast is excellent. But the writing and direction leave little space for the audience to get involved, as every thought and feeling is carefully chosen and depicted without nuance. Still, there are moments when we can identify with the characters, and the larger themes are vivid.

From a wealthy family, teenager Riley (Jacobs) is determined to join the high-powered Thunder Hawks competitive cheer team along with her girlfriend Amanda (Rutendo), who is from a lower-income family so has to hold down a part-time job as well. They are of course thrilled when the and their friend Rachel (DiBerto) win places on the squad, training with ice-queen coach Eileen (Wood) and her deadpan assistant Devon (Olajide). Determined to impress Eileen, Riley doubles down on her efforts. But she's taunted by an inner saboteur telling her that she's not good enough.

There's a sense that something darker and more intriguing might be going on here, but the filmmaking never allows something to emerge beyond the clearly stated issues. And while there are moments of grim emotion, the path through them seems oddly easy for the people on-screen. Meanwhile, scenes are shot and edited with a pulsing rhythm that expressively captures the demands cheerleading puts on these young women's bodies. Their determination and resilience is often astounding to watch.

It's this fierceness that emerges through Jacobs' committed performance. Riley is so caught up in her life that she loses perspective, taking out her worries on herself (specifically her eyebrows) while rebuffing help from her fragile mother (Sossamon), as well as Amanda's chirpy mum (Adeliyi). Rutendo brings a lovely open-handed quality to Amanda, whose more grounded approach to life is missed by the too-focussed Riley. Opposite them, Wood brings a wonderfully mysterious steeliness as the imperious but involved Eileen, while Olajide steals his scenes with arch silence, then shines brightly when he gets his moment.

Deeper ideas about self-acceptance ripple through several characters' personal journeys, although they seem to resolve fairly quickly in the final act. Some more nuance in the script, and a more provocative approach to the film's audience would have actually pulled us into Riley's journey more forcefully. As is, we are told what everyone is thinking and feeling at every point in the film, so there's not much to discover. But it's still a properly energetic ride.

themes, language, violence 9.Mar.24

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