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Words on Bathroom Walls
Diagnosed with a mental illness halfway through his senior year of high school, a witty, introspective teen struggles to keep it a secret while falling in love with a brilliant classmate who inspires him to open his heart and not be defined by his condition.
Year: 2020
Studio: LD Entertainment
Director: Thor Freudenthal
Cast: Charlie Plummer, Molly Parker, Walton Goggins, Andy García, Taylor Russell, AnnaSophia Robb
Crew: Robert Hoelen (Grip), Michael Shapiro (Set Dresser), Joshua Bailor (Digital Compositor), Adam Alpert (Executive Producer), Mickey Liddell (Producer), Pete Shilaimon (Producer)
Runtime: 111 minutes
Release: Aug 21, 2020
IMDb: 7.79/10 by 623 users
Popularity: 3
Country: United States of America
Language: English
Budget: 8,000,000
Revenue: 3,151,849
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'Words on Bathroom Walls' succeeds by leaning on teen romance tropes to make schizophrenia a digestible topic, thanks to its fantastic cast and engaging narrative. While it's not to be viewed as the defining film on the topic, it's a great jumping-off point to launch a conversation, while being another great teen film about being okay to be different. - Chris dos Santos Read Chris' full article... https://www.maketheswitch.com.au/article/review-words-on-bathroom-walls-normalising-schizophrenia-for-the-main-stream
It can be very risky to try to encapsulate schizophrenia into a drama at the best of times, but to try and present it in a teen-friendly way adds an extra dimension to that challenge and that is really quite well handled by Charlie Plummer here. “Adam” lives with his mum on their own after his dad went awol. She (AnnaSophia Robb) already has to deal with having a teenage son, and reconcile that with her new boyfriend “Paul” (Walton Coggins) just as he starts to succumb to voices in his head, to hallucinations and to behavioural difficulties. They manifest themselves on screen to us as something akin to pixies on his shoulder. These characterisations act as powerfully conflicting visual aides assisting us to begin to slightly comprehend just how his thought processes are being cluttersed and confused by differing inputs that play to his natural insecurities as a teenage boy trying to keep his head above the water. Meantime, the other tributary to this story sees “Maya” (Taylor Russell) quite successfully running a sideline selling school assignment services to those who can’t or won’t do the work themselves. When “Adam” accidentally discovers her activities they start to bond a little and perhaps this can give him enough confidence to address his increasingly disabling condition. It’s emotionally constructed, this drama, and the performances go some way to giving us a beginner’s guide to the sheer trauma for everyone involved when parts of our brain start to malfunction. The use of some simple, vaguely menacing, visual effects help create a sense of the fogginess and confusion this young man faces as he sees, or perceived, his opportunities begin to fade away. This lad wants to be a chef, and can concoct a mean Hollandaise! Sure, it cuts corners and I’m sure plenty of people will find the whole underlying philosophy cheesy and sentimentally simplistic, but as an introduction to one of the last remains taboos for most of us, it serves it’s purpose effectively and invites us to be just a little more aware.