If she could do “Project Greenlight” again, executive producer Issa Rae told IndieWire, she wouldn’t do a genre film.
On the same day that Max dropped the 10-episode reality series about a first-time filmmaker’s journey to the screen, the streamer also dropped “Gray Matter,” the sci-fi thriller that director Meko Winbush shot in 18 days while “Greenlight” documented the process. At a tight 86 minutes, the film is visually compelling and makes sound use of its lead actors — a solid debut for Winbush and ultimate victory for “Greenlight.”
“Gray Matter” is primarily the story of mother Ayla (Jessica Frances Dukes) and daughter Aurora (Mia Isaac), two superpowered beings living in isolation while Ayla hounds her daughter to control and conceal what she can do. Her fears are substantiated but concealed from Aurora, prompting the lonely teen to sneak out of the house to disastrous effect. Aurora wakes up in the custody of Derek (Garret Dillahunt) and desperate to reconnect with her mother.
Perhaps the most recurrent concern on “Greenlight” is Phil Gelatt’s script, which has a welcome simple structure but dialogue that could, for the most part, be plucked from assorted films in the same category. Another source of unease is the modest budget, which limits the scale and scope of a film that requires multiple sets, practical effects, and a surprising amount of blood spatter. Winbush and editor Byron Wong execute on both fronts, making the contained world of “Gray Matter” work for most of the film. Between Ayla, Aurora, and Derek, viewers can piece together some mechanics of psychic ability in this world, as well as fascinating visualization of thought and memory (Aurora trying to repress what her mother looks like is a particularly striking moment).
With the most to do and the least experience, Isaac carries the film like a pro. She brings Aurora’s roiling psychic struggles to the surface, skillfully takes on action, and brings welcome realism to the scenes where she’s just a confused adolescent. She and Andrew Liner sell a sweet love story in just a couple of scenes, and pairs perfectly with Dillahunt’s measured, sinister energy. The film hinges upon its mother-daughter relationship (also frequently cited in “Greenlight”), and the combination of Isaac and Dukes makes for some of the most crackling scenes throughout — it’s just a shame they don’t share more time together in the middle.
“Gray Matter” feels thinnest in its final act, when that budget does visibly tighten before your very eyes. A sustained sequence in Aurora’s mind goes on for too long, leading up to a muted climax and intriguing (if somewhat unearned) final shot. Andrew Jeric’s cinematography and Masha Smolianinova’s art direction take over the spotlight during those lulls, after providing a sturdy canvas for the rest of the film as well. The end feels somehow both slow and rushed, but “Gray Matter” showcases its strengths earlier on.
Rae (and fellow executive producers Gina Prince-Blythewood and Kumail Nanjiani) also expressed that audiences should watch “Project Greenlight” before diving into “Gray Matter,” in order to understand the immense effort that went into this or any movie (including the bad ones). “Gray Matter” may not be remarkable in and of itself, but “Greenlight” underscores what an achievement it is simply to make a film.
The real success story is Winbush — a female director of color now firmly embedded in the industry, who has worked with the likes of Max, HOORAE, CatchLight Studios, and 3 Arts Entertainment — who made a movie while simultaneously starring in a reality show. If that’s not a superpower, what is?
Grade: B-
“Gray Matter” and “Project Greenlight” are now streaming on Max.
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