I have returned to Nantucket for the fourth time to indulge in one of the best-run film festivals in the country. Now celebrating its 29th year, Nantucket holds a special allure beyond its historic charm, delightful cuisines, and mellow vibes. What sets it apart is its profound focus on honoring the writer. Every film is carefully selected with the author in mind, and Nantucket’s Signature Program events revolve around celebrating the art of screenwriting.
The pinnacle of the festival is the Screenwriters Tribute, held Friday night at the ‘Sconset Casino and hosted by comedian and writer Ophira Eisenberg. This year, Nantucket pays homage to distinguished talents such as Emmy and WGA-nominee Kerry Ehrin, known for her work on Apple TV+’s flagship series, The Morning Show; Oscar-winning director Roger Ross Williams, the first African American director to win an Oscar (Music By Prudence); and Meredith Scardino, creator of Netflix’s Emmy-nominated comedy, Girls5eva, and seasoned writer for shows like Saturday Night Live and The Late Show with Stephen Colbert.
But before we venture into the incredible venues planned, let’s remember what brought me here in the first place: the films!
It had been nine years since I last watched the first Inside Out, and at my stage in life, a rewatch was necessary to prepare for the sequel. My opinion on Inside Out hasn’t changed much since 2015 – it’s a moderately memorable Pixar film, despite its brilliant concept and stellar cast. However, I find the film loses its direction as Joy and Sadness journey deeper into Riley’s childhood mind.
In Inside Out 2, Riley is navigating the start of her teenage years and is gearing up for high school. As she adjusts to this new phase of life, her emotional control center undergoes renovations to accommodate new emotions. Joy, Sadness, Anger, Disgust, and Fear now contend with Anxiety, Envy, Embarrassment, and Ennui (boredom). Riley’s emerging emotions trigger outbursts that, as a father of two teens, I find all too familiar.
This connection made Inside Out 2 a far more engaging experience for me than its predecessor. The central themes of grappling with anxiety and witnessing loved ones grow and evolve beyond our influence deeply resonated with me. As Riley’s peers start to wield more influence, observing her parents (and Joy) struggle to maintain their grip on the child they’ve nurtured, and to mold her into the person they envisioned, struck a chord. Inside Out 2 explores the journey of learning to let go, allowing our children discover their own sense of self. When they need us, they’ll reach out, and in the meantime, it’s our role to step back and watch them flourish.
While Joy tries to erase Riley’s negative memories in a bid to preserve her perfection, she overlooks the fact that it’s both our triumphs and tribulations that shape us. The memories of victories and successes hold little meaning without the challenges and setbacks that define our journey.
In many ways, Kelsey Mann’s Inside Out 2 was significantly more emotionally resonant, profound, and insightful than its predecessor. I was pleasantly surprised by how deeply it moved me.
You can read Clarence’s full review for Inside Out 2, here.
Another film that resonated with similar themes was Sean Wang’s feature film directorial debut, Dìdi. Set in 2008, it follows Chris, an impressionable 13-year-old Taiwanese American navigating girls, family dynamics, and his impending high school journey during a pivotal summer. 
Similar to Inside Out 2, Dìdi is a coming-of-age narrative, offering a male perspective loosely based on the director’s own experiences. It served as an insightful companion piece to the Pixar film, exploring the complexities of puberty and the absence of a father figure in Chris’ life. Raised by his Nai Nai (played by Wang’s real-life grandmother), mother, and older sister, Chris navigates adolescence while silently observing his family’s efforts to assimilate into American culture. His journey becomes a poignant exploration of cultural adaptation and generational differences, where he must reconcile his heritage with the pressures of fitting into a new society. These intimate moments not only enhance Dìdi’s enduring charm but also probe into profound themes of identity formation within a multicultural context. How Sean Wang’s film skillfully illustrates how these tensions and bonds unfold as traditions are passed down and transformed in a new cultural environment, contributing to the richness of Dìdi’s narrative.
Sean Wang, renowned for his Oscar-nominated short documentary Nai Nai & Wài Pó, offers a tender portrayal of family dynamics across his work, permeating each film with a palpable love despite the inherent challenges.
Dìdi is a heartfelt portrayal of the chaotic awkwardness of adolescence with simplicity and effectiveness. Joan Chen is the heart and soul of the film as the weary but determined matriarch, and gives a performance worthy of consideration in the Supporting Actress race during awards season.
Switching from adolescents to geriatrics, Nantucket’s Opening night film, Thelma, sparked considerable excitement and completely sold out the Dreamland Main theater.
In Josh Margolin’s action/comedy, June Squibb plays the titular role of Thelma, a 93-year-old grandmother who falls prey to a $10,000 phone scam. Drawing inspiration from her fondness for Tom Cruise’s Mission: Impossible films, Thelma is determined to right the wrong. With the aid of her longtime
friend, Ben (Richard Roundtree in his final feature performance) and sets out to reclaim what was taken from her. Meanwhile, her daughter (Parker Posey), son-in-law (Clark Gregg), and lovably hapless grandson (Fred Hechinger) embark on a wild pursuit to locate the missing nonagenarian.
Loosely inspired by an incident from Margolin’s own grandmother, Thelma is a heartfelt and light-hearted film that the director expressed as a labor of love. Beyond everything else, the film grants June Squibb her first leading role in a career spanning over 70 years and bids a tender farewell to the late Richard Roundtree. The Nantucket audience, predominantly an older crowd, ate it up.
Thelma is a joy to watch. A genuine crowd-pleaser and a laugh riot. Sometimes, the simplicity of a film is its greatest strength.
