Sundance Film Festival 2023: THEATER CAMP & RADICAL

My next report for the 2023 edition of the Sundance Film Festival covers two films that involve children trying their best to learn; Molly Gordon and Nick Lieberman’s Theater Camp sees a group of over-enthusiastic children racing for the drums at a music summer camp, while Christopher Zalla’s Radical tackles the educational system in Matamoros, Mexico. Both feature elements of comedy intertwined with social relevance, although one is more serious than the other.

Theater Camp (Molly Gordon and Nick Lieberman)

If you’re like me, the concept of attending a summer theater camp might seem foreign, but I suppose anyone can relate to the universality of art bringing people together. And this wonderous appeal is what Theater Camp capitalizes on, which is really Molly Gordon and Nick Lieberman’s love letter to the theater experience for aspiring young artists. Using the mockumentary format as a backdrop, the film follows a summer camp in upstate New York after its supposed subject, camp founder Joan (Amy Sedaris), falls into a coma during a strobe-light friendly theater performance. Her son, Troy (Jimmy Tatro), who had no interest in theater growing up, is tasked with running the camp in what appears to be a clueless undertaking. There’s also Amos (Ben Platt) and Rebecca-Diane (Gordon), who have been working at the camp for more than a decade and hope to keep things afloat in preparation for their opening night performance at the end of the summer.

What stands out about Theater Camp is the fact that it’s genuinely funny. While the film doesn’t necessarily utilize its mockumentary setup as much as it could have, there’s plenty of comedic moments to create a crowd-pleasing sensibility. There’s laugh out loud moments, mixed together with tender exchanges between both adults and children. The title cards used in between scenes are particularly poignant in creating some of the funniest moments in the film, and really caters to the deadpan comedic tension that circulates quite naturally throughout the narrative. What’s perhaps missing, is an extension of these qualities to better make use of the mockumentary format, which is really used more as an observer of the narrative, rather than an active part of it. The film could’ve worked just as well without the faux camera crew backdrop, making the setup feel like a missed opportunity of sorts.

But to say that Theater Camp is a fun watch would probably be understating the entertaining collision of its endearing proclamation of artistic performance, and how it can serve as a place of solitude for those seeking to fit in. It’s an age-old story that’s worth retelling, and Theater Camp does so with a heartfelt warmth that clearly stems from its filmmakers’ personal affection for the craft. Despite the commercial appeal that the film embodies, it really feels like a personal ode to the world of theater camp, which was likely a saving grace for Gordon et al. growing up. And as a result, the film itself feels like a joyful ride down memory lane, and is quite an enjoyable ride.

Radical (Christopher Zalla)

Finding that difficult sweet spot of blending together lighthearted comedic tendencies with sociopolitical seriousness, Christopher Zalla’s Radical is a great exercise in empathetic storytelling. Based on a true story, the film follows students at Jose Urbina Lopez Elementary in Matamoros, Mexico, who are consistently among the lowest performing schools in the country. Sergio (Eugenio Derbez), a teacher from another district, takes over the school’s sixth grade class and has no intentions of following the usual curriculum. With his ingenuity and passionate disposition, his ‘method’ is surprisingly successful, at least within the boundaries of his classroom. Half of Radical’s narrative takes place outside of the classroom, where barriers and conflicts can’t necessarily be fixed by a teacher, no matter how good they might be.

The film is by no means a revelation in filmmaking, and one might argue that it relies too heavily on conventional storytelling tropes, particular during the classroom scenes. But conventions can work well when used properly, and Zalla seems mindful not to overplay his cards. There are expectedly cute moments within the classroom, but also constant reminders of each child’s (usually) harsher circumstances back home. These inferences to their realities add depth to the story, while never feeling exploitative in any way.

And even though the child actors are all quite fantastic, Derbez is the obvious heart and soul of the film, and he really has a natural charm about him that helps guide the story gracefully. He offers brevity and assurance to his students when needed, while also not shying away from his own emotional turmoil. Most audiences will likely remember his role as a music teacher in Coda, and he seems to have a perfect record when it comes to playing a teacher in a Sundance film.

The fact that Radical is based on a true story certainly elevates its narrative impact, but the film likely would’ve worked just as well if it were completely fictional. It isn’t the most ingenuous venture in storytelling, and does feel a bit too conventional at times. But the way it manages to depict the harsh realities of marginalized children in an underfunded education (and social) system, yet maintain a semblance of hope, makes for a solid viewing experience.