Written by Emma Roberts, Photo courtesy of SCAD
We can resonate with the thought of wanting more. Whether it’s more time, more money, more friends or more opportunities, we crave it. From wanting friends and maturity in “Eighth Grade,” to wanting to become an accepted family member in “Love, Simon,” this thought is near universal in teen drama films.
“Mickey and the Bear” embraces this, while taking the concept in its own direction. Starring Camila Morrone, the film follows Mickey as she navigates the tense and often violent relationship with her father.
Ultimately the film succeeds in depicting Mickey’s desires, wants and needs. They do not come easily however. The film is packed with tense moments, void of any music or outside noise, as Mickey talks and argues her way out of situations – which doesn’t always work. After a particularly harsh incident, her psychiatrist tells her that this “is just too much for a kid.” Mickey shouldn’t have to assume so many responsibilities and it leaves her wondering if her wants are achievable, given her life circumstances.
Much of the success of “Mickey and the Bear” comes from the script, written by Annabelle Attanasio. Loosely based on her own life, the film remains incredibly grounded, dealing with the lives of characters who are nuanced. Each main player has their own motivations throughout the film. This led to uneven pacing which often slowed down the narrative for long portions of the film, only to speed up rapidly and intensely. Sometimes this works toward the film’s benefit, letting the narrative breathe for a minute, but it led to uncertainty and dread, and the thought of wanting the film to pick back up.
Ultimately “Mickey and the Bear” tells the story of a girl wanting more. She’s looking for independence and ways to become her own person. Similar to Simon in “Love, Simon,” Mickey struggles to find her identity – though she is trying to find one beyond taking care of her father. She wants more, not much, but more. In the end however, the film does not indulge in itself, and ends just where it needs to. It leaves the audience wanting more, and wondering what’s in store for Camila Morrone and Annabelle Attanasio.
