Slamdance 2024: Chaperone
Slamdance Film FestivalLife can often be broken down into a series of phases as individuals work their way through short-term goals while plotting their path forward. Along the way, some individuals can become stuck and struggle to continue their movement through life. Screening as part of the 2024 Slamdance Film Festival, Zoe Eisenberg's debut feature Chaperone centers on a young woman named Misha (Mitzi Akaha) who is in this exact position. 29-years-old, Misha has frustrated those around her with her lack of ambition and has found herself nearly isolated as a result with most interactions with others being about this problem. While Misha continues to wander, she meets an 18-year-old boy named Jake (Laird Akeo) who mistakes Misha for a student his age and they begin to form a connection while Misha keeps her age a secret.
In a time where toxic age dynamics have started to become more and more common in cinema, one has to look at Chaperone as a more refreshing explicit condemnation of the topic with the film expressly stating in its marketing that the film "is not a love story". Even with both characters being of legal age, the film makes it clear with multiple examples that this relationship is toxic with Misha. Not only is it based on lies, but Misha is clearly using Jake as an answer to her problems and is far from respectful and smart about proper boundaries. The film sets Misha up as a complex figure to fill what is traditionally seen as the protagonist role of the film. Being the central focus of the film, it is easy to want to give Misha empathy for her position and the mistakes she makes, but at every turn when presented with a chance for actual growth Misha refuses to accept it. While this might be challenging for some audiences who are expecting something more traditional, this is one of the more effective figures to lead this type of story in recent memory.
While the film does ultimately make its stance clear on the problems within this connection, it also provides the key memorable sequences to show why their connection was built in the first place. With quite an artistic eye when it comes to set pieces and visual design, the film does establish a palpable connection between the figures that justifies the narrative that is unfolding without ever ruining the statement the film as a whole is trying to make. In walking the tightrope between these identities, the performances from Akaha and Akeo shine for their complex emotional layers as they lead a notably strong Asian American and Native Hawaiian/Pacific Islander (AANHPI) cast.
While contending with a smaller budget as an indie production, the film also makes the most of its pieces to deliver a rewarding overall viewing experience. From the film's cinematography to its usage of original music by Taimane which has a unique identity and power, the film crafts a rewarding cinematic experience that is dynamic and effective.
As far as problems, some problems can be found in the pacing and organization of the film with a few moments of conflict and side characters feeling weirdly structured and somewhat distracting. The ending of the film is also going to be a challenging display for some as the film builds to a grand moment only to cut to the credits, robbing the audience of this actual scene. This allows the focus to land on the presence of the events happening rather than on the results of them which can feel lackluster and frustrating to those invested and looking for a more stable conclusion.
Overall, Chaperone is a worthy piece of cinematic exploration that sees a wonderful debut for Zoe Eisenberg and great displays of value from both Akaha and Akeo as actors. Making the most of this opportunity, the film is bold and confident in its voice and perspective, something that makes many features of the Slamdance Film Festival so special
