高校最後の年に精神疾患と診断された、才気あふれるひとりの少年。シェフになるという将来の夢を胸に、恋と完璧な自分のイメージを両立させようと葛藤してゆく。
AIが作品の魅力を深く読み解いています
製作費: $8,000,000 (12億円)
興行収入: $3,151,849 (5億円)
推定収支: $-4,848,151 (-7億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。
監督: Thor Freudenthal
脚本: Nick Naveda / Julia Walton
音楽: Drew Taggart / Alex Pall
制作: Adam Alpert / Mickey Liddell / Pete Shilaimon
撮影監督: ミッシェル・ゴイ
制作会社: LD Entertainment
'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.
