Door Mouse

Avan Jogia does an all around phenomenal job with Door Mouse. The film starts out the gate with stunning visuals and a killer soundtrack (with both only getting better as the film goes on). The beautiful color grading and well-timed graphic novel components combine to create a world that's so familiar, yet just out of reach.

Hayley Law as Mouse perfectly captures the essence of how deeply jaded yet fiercely passionate so many teens and young adults feel today. Apathy masking how suffocating it really is to move within never ending systems of oppression. The film allows space for people of color, especially women, to reclaim their agency outside the lens of "otherness." Nhi Do as Doe Eyes does this particularly well. Her presence haunts you with every appearance and drives the story to its satisfying end. Keith Powers was a delight as Ugly. He manages to bring such levity and authenticity to his scenes with only the slightest of expressions. (The part where we learn his government name was one of my favorites - superb comedic timing)

Power, privilege, and race dynamics are captured in the way that they are simply how our world exists. Accordingly, the dialogue delves into inequity with such casual depth and it's refreshing to see how that can be done so matter of fact without overstating rote talking points.

Door Mouse doesn't try to be more than it is - a wonderfully gritty, nostalgic noir that just happens to have an incredibly diverse cast - and in doing so, demonstrates how impactful and captivating telling familiar stories from different lenses can be. I laughed, I cried, I raged at how cruel the world can be, and ultimately left empowered that there are still ways to make sense of it all.

Door Mouse has such a distinct and well composed style that I watched it in growing awe. It' s not often that you meet such a clear tone in direction, camera, light, color and dialog in a genre indie film. The director seemed to know exactly what he was aiming for and hit the nail on the head. Somewhere between hardboiled neo noir, a dark generation-z-graphic-novel and a kind of weird Palahniuk-ish underground detective story. Well written, never over done or cliche, for sure in danger of walking into a trap of style over substance but never falling for it mainly thanks to its lead. Hayley Law carys the movie with her big eyes, a heavy existentialist litenes, dark and doomed wit and the intense charme from a princess of the gutter. She does such a wonderful job in portraying this iconic misfit called Mouse, stubborn, cool and very very sexy but never without essence or depth. She had me 3 Minutes in with the line "every morning I wake up in the afternoon". You can't help but love this character. And the rest of the cast is on the point too. So is the energetic garage band soundtrack that glues everything together.

I wouldn't have thought that this is the directorial debut of writer and director Mr. Jogia. Well done! Very well done. I'll keep my eyes open for his and Mrs. Law's work in the future.

This movie was quite simply horrible. It took everything I had to watch it all the way through. This acting is miserable. The writing is just as moronic as you might imagine. And the directing? What directing? It's amateurish at best.

And the fact that this is getting good review is not missed on me. More fake posts from people who must have worked on the film. There is no way anyone who watches this can give it an 8, 9, or 10 unless it's a reverse rating and they meant to mean 3, 2, or 1.

It's a very, very, very low budget movie that substitutes pretensious scenes and dialog in the place of talent. Don't bother. It stinks.

A gritty, forboading, and brilliantly cerebral examination of morals and their pricetags/paychecks.

Delicately orchestrated acting, cinematography, and score centers the capitalism of character beautifully.

There are so many impossibly thoughtful details that I would need to write a huge paper to discuss them all and their many nuances.

So I'll just say that I am beyond excited for the future of this creator as he continues to find his voice.

One day, just by the style, everyone is going to be able to pick his stories out of the crowd in a blink.

There is no doubt, whatsoever.

To Avan, if he's reading these:

Don't stop. Hold fast. Your audience will find you.

With a dark and visually striking narrative, Jogia plunges the audience into a neo-noir world filled with tension, mystery, and incisive social commentary on the exploitation of women. The film is a cinematic experience that combines style, substance, and meticulous art direction, resulting in a work that resonates deeply.

At the heart of the story is Hayley Law, who plays Mouse, a young fighter and cartoonist who becomes entangled in a dangerous investigation after the disappearance of a friend. Law delivers a visceral and nuanced performance, capturing the vulnerability and determination of her character with an intensity that keeps the audience glued to the screen. Her chemistry with the veteran Famke Janssen, who plays the enigmatic owner of a strip club, is electric. Janssen, with her magnetic presence and subtle delivery, adds layers of complexity to the film, while Keith Powers, as the charming and mysterious Ugly, complements the cast with a solid and convincing performance.

Jogia demonstrates a sharp eye for visual details, using cinematography to amplify the emotions and themes of the story. The choice to frequently focus on Mouse's eyes not only humanizes the character but also creates an intimate connection with the audience. The lighting is another highlight, with plays of light and shadow that evoke a claustrophobic and dreamlike atmosphere. In particular, the way Mouse's hair is lit to resemble the silhouette of Mickey Mouse's head is a brilliant visual metaphor, suggesting the duality between innocence and danger, fantasy and reality.

Mouse's room, which serves as her refuge and creative space, is a microcosm of the chaos that takes over her life. Throughout the film, we see the environment transform into a disordered and oppressive space, reflecting the protagonist's mental and emotional deterioration. This production design choice is a notable success, reinforcing the film's central theme: the loss of innocence and the struggle against dark, systemic forces.

The soundtrack, in turn, is a character in its own right. With a combination of melancholic jazz, electronic beats, and dissonant tones, the music amplifies the neo-noir atmosphere, transporting the viewer to a universe where the line between right and wrong is constantly blurred. The film's setting is impeccable, with scenes ranging from decadent clubs to dark, labyrinthine streets, creating a world that feels alive and tangible.

Door Mouse is not just a film about an investigation; it is a courageous exploration of difficult themes, such as sexual exploitation and violence against women. Jogia approaches these subjects with sensitivity and without sensationalism, allowing the story and characters to speak for themselves. The film is disturbing but necessary, and its message resonates long after the credits roll.