A Collection of Disability Double Bills

A split collage with the words "DOUBLE BILL" in bold On the left, a bearded man with his finger to his mouth, gesturing a "shush" motion. On the right, two people are holding hands in a subway tunnel which is covered in bodies lying on the floor. The collage is split down in the middle with a white outline between the two images.

Article CW: Disability Discrimination, Sex Abuse

Letterboxd List

FEATURE: A QUIET PLACE (2018), DIR. JOHN KRASINSKI

SHORT: DAWN OF THE DEAF (2016), DIR. ROB SAVAGE

Krasinski’s critical and commercial success tells the story of a family living in a post-apocalyptic world overrun by blind extra-terrestrial creatures with heightened hearing. The family communicates using American Sign Language (ASL), a language they already knew before the apocalypse. The daughter of the family, Regan (Millicent Simmons), is Deaf herself and wears a cochlear implant. A Quiet Place is an atmospheric masterpiece, symbolising the empowerment of Deaf people through the evolutionary means of visual communication, which has driven the family’s survival. The film’s harnessing of elemental fears and tension has raised the bar for horror as a genre. Deafness, Deaf culture and deaf adaptations are perceived as solutions rather than burdens, shaping a new narrative for disability and Deaf representation within the genre of horror.

Still from the film A Quiet Place. A man holding a young boy, a woman, and a young girl are all walking in a line facing the camera. They're wearing jackets and backpacks, and the background is a forest landscape.
Image courtesy of Platinum Dunes, Sunday Night Productions

Dawn of the Deaf is the perfect companion for A Quiet Place, both of which illustrate the survival advantages of deafness during an apocalypse. Savage’s 12-minute short film is an ambitious, but original insight into unexplored zombie territory. This film focuses on four narratives: two deaf women being taunted on the street; a deaf man accepting an award; a deaf lesbian couple arguing, and a deaf teenager being sexually abused by her stepfather. An ominous sonic pulse infects the hearing population, catalysing a zombie apocalypse and threatening the survival of the film’s deaf characters. The sound editing is impressive, and the subtitling format in one particular scene is an imaginative interpretation of perspective that isn’t often seen on-screen. Savage’s short is a captivating snippet of an unconventional zombie story that brings Deaf talent and British Sign Language to the forefront. Although Dawn of the Deaf acts as a precursor more than a standalone film, it leaves audiences hungry for more.

Still from the film Dawn of the Deaf. Two women are holding hands in a subway tunnel, and the floor is covered in bodies,
Image courtesy of Shadowhouse Films

FEATURE: THE PEANUT BUTTER FALCON (2019), DIR. TYLER NILSEN, MICHAEL SCHWARTZ

FEATURE: 37 SECONDS (2019), DIR. HIKARI 

The Peanut Butter Falcon tells the story of Zak (Zack Gottsagen), a young man with Down Syndrome, who runs away from a nursing home to fulfil his dream: becoming a professional wrestler. Along the way, he meets Tyler (Shia LaBeouf), a wayward outlaw. The film’s success is partly owed to Gottsagen’s presence, an actor with Down Syndrome, whose performance embodies the lived experiences of a disabled person’s reality. The Peanut Butter Falcon is a cosy and heartfelt narrative about a young disabled person breaking free from the confines of ableism and infantilisation to pursue their hopes and dreams.

Still from the film The Peanut Butter Falcon. Two men and a woman are on a makeshift sailing boat in a body of water. The sun is setting.
Image courtesy of Armory Films, Lucky Treehouse, Bona Fide Productions, Endeavor Content

37 Seconds is a Japanese drama about Yuma, a young disabled woman who explores her sexual freedom and personal liberation while pursuing a career in manga. The lead is played by actress Mei Kayama, who has cerebral palsy and uses a powerchair. This gem of a film is an honest but gentle examination of society’s desexualisation and infantilisation of disabled people. The Peanut Butter Falcon and 37 Seconds are modern examples of young disabled characters challenging preconceived societal perceptions of disability.

Still from the film 37 Seconds. A young woman with black hair is sitting in her powerchair on the bus. She's wearing a baseball cap and is looking outside the window with a content expression on her face.
Image courtesy of Knockonwood, Hikari Films

FEATURE: CRIP CAMP: A DISABILITY REVOLUTION (2020), DIR. NICOLE NEWNHAM, JIM LEBRECHT

FEATURE: RISING PHOENIX (2020), DIR. IAN BONHÔTE, PETER ETTEDGUI

Crip Camp is a remarkable documentary regaling the stories of a rickety summer camp for disabled teenagers in Woodstock, New York. These campers catalysed the beginning of a revolutionary disability rights movement, carving a path for equal rights and policy changes for disabled Americans. The film focuses on the campers turned activists who fought for access and legislation, creating systematic change for disabled people across the United States. This documentary is intertwined with vintage footage and modern-day interviews, providing a detailed and layered timeline of the historic events that took place. Crip Camp is the education we all need.

Still from the documentary Crip Camp. This is a vintage black and white photo of a Black man holding a shirtless white man, and they're both laughing. A white shirtless man with one hand is next to them, and a shirtless white man in a wheelchair is behind them. They are on a field and there is a white cabin like building in the background.
Image courtesy of Higher Grounds Productions, Rusted Spoke, Little Punk, Just Films, Ford Foundation

Rising Phoenix is another striking disability-centred documentary released by Netflix. This captivating film illustrates the extraordinary tale of the Paralympic Games, emphasising the strength and power of sheer human determination. Rising Phoenix features a diverse line-up of Paralympians and Paralympic Games organisers, as they explore the roots of the Games and their stories as disabled athletes. The film addresses inequality for disabled people within sports, and how one American Paralympian successfully sued for disabled people to have the legal right to participate in sports. This film captures the spirit of the Paralympics, passing the baton onto the next generation of Paralympians.

Both films are celebrations of disability and perseverance, whilst never failing to forget the inequalities and discrimination that disabled people still face today.

Still from the documentary Rising Phoenix. A from the ground shot of a Black man with one leg and a blade jumping in the air. The sky is a vast blue.
Image courtesy of HTYT Films, Passion Pictures, Misfits Entertainment, Ventureland

‘Circus of Books’ is an Unusual Tale of a Straight Jewish Couple, Gay Porn and Unconditional Love

This article was originally published by Screen Queens.

Hidden within the hustle and bustle of West Hollywood, there lived a curious little bookstore. In 1976, Karen and Barry Mason were looking to make ends meet for their young family when they came across an ad in ‘Hustlers’. It wasn’t long after that that Circus of Books was born. This modest bookstore went on to become the largest distributor of gay pornography in the United States. Stocked with gay porn, adult sex toys, LGBTQ novels, science fiction books and Bibles, Circus of Books is a beloved and dog-eared page out of Los Angeles’ gay history.

Documentary filmmaker Rachel Mason turns the camera on her parents, guiding a familial warmth to the screen as they recount their tale with comedic rhythm. The documentary is made up of cosy home-movie footage switched between recent interviews of family members. The film explores the family’s conflicting relationship between their Jewish faith and their livelihood, with a focus on the parent’s prerogative to protect their children during a time where LGBTQ people were not accepted by wider society. They endured FBI raids, faced jail time for a federal obscenity charge, and opened their store up as a place of refuge during the AIDs epidemic. As the film steps into the 21st century, the couple reflects upon gay hook-up culture and the digital era’s detrimental impact on the bookstore. 

This image shows the inside of the bookstore, viewing a stand with an array of porn magazines. There is a sign with red writing that says 'YOU MUST BE 18 TO ENTER'
Netflix

Both Circus of Books establishments have since closed their doors, evoking a retrospective and nostalgic atmosphere throughout the film. Rachel interviews a spectrum of supporters, from former employees to porn stars and LGBT activists. RuPaul’s Drag Race All-Star, Alaska, appears with first-hand testimony as an ex-employee. The audience is introduced to adult film star Jeff Stryker during a particularly memorable interview. Stryker recalls how the Masons first branched out into hardcore film distribution while demonstrating an action figure of himself (the figurine comes with an erectable penis). Although Karen maintains that they never viewed the movies, she and her husband are, without a doubt, notable figures within pornographic history.

Karen and Barry both play down their generosity, which may speak to their internalised struggles as well as their humbleness. Rachel doesn’t airbrush her parents as saints, nor does she paint over Karen’s strained reaction when her youngest son Josh came out as gay. Over time, the bond between Karen and Barry with their three children strengthened. Karen went on to become an active member of PFLAG, the largest organisation for lesbian, gay, bisexual, transgender, and queer (LGBTQ+) people, their parents and families, and allies.

However, the film did fail to raise questions about the arguably exploitative nature of gay pornography− an opinion that is often heard in relation to the straight porn industry. What the documentary may lose in objectivity, it makes up for in openness. This is a story brimming with tenderness and humour and is an unlikely tale that should be smiled upon. Rachel Mason manages to capture her family’s presence using her own lens. Circus of Books is an intimate glimpse into a unique business venture and an untold chapter of gay history.

Atypical Shines a Spotlight on College Disability Services

This article was originally published by Flip Screen.

In 2019, the Higher Education Commission ordered an inquiry into the experiences faced by disabled students, including autistic students, to investigate why educational institutions are failing to support their disabled students. 2020 marks the 25th anniversary of the Disability Discrimination Act 1995 and the 10th anniversary of the Equality Act 2010, and yet there are still barriers preventing disabled students from achieving their full potential within academia. Policy Connect states that disabled students are more prone to experience social isolation and loneliness, they are generally less likely to complete their degree and they are paid less as graduates. For many disabled young adults, the prospect of higher education brings with it uncertainty as to their capability to commit to the demands of university education.

Typical coming-of-age stories within television often discuss the transition young people face moving from high school to university, exploring the rollercoaster ride of excitement and dread as they prepare to enter the next chapter of their life, away from the safety and familiarity of their status quo. It’s a rarity to see plotlines featuring young people with disabilities contemplating their future and the support they’ll be afforded for a smoother transition.

Atypical is a coming-of-age Netflix series that centres around Sam Gardner (Keir Gilchrist), an 18-year-old student on the autism spectrum. The show follows Sam as he navigates through high school, dating and family struggles.

Netflix poster for Atypical. Atypical is written in all capitals in the centre, with Sam, his sister, father and mother lying down looking up.
Netflix

Season one faced backlash for excluding autistic people from the creative teams developing the plotlines, with none of the writers, directors or producers being on the spectrum. The missing discussion resulted in the perpetuation of many stereotypes being portrayed, ignoring the fact that autism is multifaceted with varying symptoms across the spectrum. Instead, we see what neurotypical people think autism is. One of the fundamental pillars of the modern disability rights movement is the principle of “nothing about us without us”.   Inaccurate or one-dimensional depictions of autistic people can be harmful and damaging, especially if the general public are misinterpreting mainstream media as a valid educational source.

In popular media, disability has a 2% representation rate, in which disabled actors portray only 5% of disabled characters. Imitated representation of disability often stems from the belief that autistic people, and disabled people on a broader level, can’t share their stories and speak for themselves. Atypical redeems itself in season two and three, in which a part of Sam’s plotline introduces a support group for young adults on the spectrum, all portrayed by actors with autism. 

Photo showing the support group for young adults on the spectrum. Sam is seen sitting in a circle with his peers.
Netflix

During the third season, we see Sam settling into college and coming to grips with unfamiliar environments and routines. In the third episode, titled ‘Cocaine Pills and Pony Meat’, Sam begins his ethics module and becomes overwhelmed with the demands of the class. He starts to have trouble sleeping due to the changes in his life, worsened by his stern professor. Sam’s father, Doug (Michael Rapaport), talks to him about possibly asking for support from his college. Sam visits the Disability Services Centre where he’s shown around by Sid (Tal Anderson) and Jasper (Domonique Brown).

“…and even if you don’t use the services, you can still use the bean bags.”

The episode finishes with Sam sitting in his ethics class, along with Excited Evelyn (Marietta Melrose), his ‘anonymous’ note taker.

It’s refreshing for audiences to be introduced to a narrative that acknowledges disability services, enabling viewers to conclude that there’s no shame in asking for help as it’s there for a reason. Disability is no indication of limited capabilities, and education should be accessible to everyone. 

In the UK, some of the disability services available to students include mobility training for blind or visually impaired people; lecture notes provided in alternative formats or in advance; notetakers; support workers and alternative arrangements for assessments. Although there is an adequate system in place, there are still fundamental flaws that require attention.

Having said that, it’s crucial to ensure that disabled students are aware of the support that’s available to them. Illustrating everyday dilemmas faced by disabled people is vital in the fight for authentic disability representation within television and film.

Notwithstanding the negative reactions towards Atypical‘s first season, the pioneering show has since made leaps and bounds in its disability representation, narrative and storytelling. The introduction of an LGBTQ+ relationship in the latest season is just another example of how marginalised communities are taking centre stage and breaking through stereotypical dynamics.

Since the release of the third season, audiences have anticipated the announcement of a fourth, which Netflix has not yet confirmed. 

I Am Mother: Post-Apocalyptic Confines

THIS REVIEW CONTAINS SPOILERS

I Am Mother is a 2019 Australian science fiction thriller, widely released by Netflix. Sputore’s directorial debut follows a girl living in a post-apocalyptic bunker. She is raised by an android, whose purpose it is to aid the repopulation of Earth and the restoration of humankind. Their relationship is tested when a wounded stranger arrives at the bunker.

I Am Mother opens with a title card that reads “DAYS SINCE EXTINCTION EVENT: 001”. The audience is introduced to “Mother”, an android (voiced by Rose Byrne) who is raising a human child within the confinements of the post-apocalyptic bunker. Time jumps forward to introduce a teenager simply named “Daughter” (Clara Rugaard). Mother and Daughter live together in isolation, protected from the contamination and threat that still lingers on Earth’s surface after the extinction of humanity.

‘Mother’  android
‘Mother’ in Netflix’s I Am Mother

Everything changes when an injured woman (Hilary Swank) arrives at their door, pleading for help. Along with Woman’s unexpected arrival, Daughter learns some disturbing truths about Mother. Despite the classic sci-fi ‘evil robot’ trope, this film pleasantly surprises with an unpredictable and unconventional story.

Early on, we learn that Daughter is being prepared for an exam. The film’s ending reveals that Mother had a far more insidious motive for Daughter’s testing as she attempted to raise the ‘perfect human’. Ultimately Daughter must prove that she and humanity are worthy of survival. It is later insinuated that Mother executed the extinction, to protect humankind from destroying itself. Daughter discovers that she wasn’t the first child raised by Mother, finding human bones in the incinerator. It is suggested that Woman also originated from an embryo within the bunker.

Hilary Swank’s character is up against a wall, looking scared of ‘Mother’ Android
Netflix

After Daughter and Woman escape to the Earth’s surface together, Daughter quickly learns that Woman lied about living with a community of human survivors, admitting that she manipulated Daughter so that she could escape the bunker. Daughter abandons Woman, returning to the bunker to confront Mother and to raise her new brother, whose embryo she had previously chosen as Mother’s reward to her for her exam results. Daughter’s demonstration of her selfless determination to ensure the human race’s survival convinces Mother of Daughter’s capability.

Mother concedes to Daughter, as her purpose has been fulfilled. The android is no longer needed, assured that Daughter has proven herself as a capable guardian. Daughter sobs as she shoots Mother, who falls to the ground. Mother’s AI consciousness still exists in the other droids that roam the Earth’s bare surface, one of the droids visits Woman’s home and addresses her in Mother’s voice.

“Funny that you’ve survived so long. As if someone’s had a purpose for you. Until now.”

Mother had orchestrated Woman’s injury and arrival into Daughter’s life, catalysing Daughter’s curiosity and escape from the bunker. Once Daughter returned to the bunker and proved herself worthy of guiding humanity, Woman had outlived her usefulness.

Followed by an ominous slam of the door, Mother carries out her final task.

This dystopian film is tense, intelligent and suspenseful. I Am Mother is an ambitious and well-acted science fiction story with a central psychological paradox that poses intriguing questions about motherhood and humankind’s reliance on technology. Newcomer Clara Rugaard has a dynamic presence on screen, lending substance to her role as a human that questions what it means to be human.

Woman and Daughter’s faces are side by side, a still of Mother is underneath their faces. There is a black backdrop
Netflix

The visual storytelling drives the film’s dystopic vision and imposes mecha-maternal sentiment as we witness the sweet moment of a head resting on a robotic shoulder. The downside of this film is that it can be easy to become lost in the plot’s details and twists, especially if you have a habit of checking your phone whilst watching movies.