In an especially tense moment on screen, a woman who has been caring for her blind mother refuses to open the apartment door for her. Her mother had endangered the daughter’s newborn son in a moment of severe cognitive confusion.
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The mother was begging for her daughter’s help. The daughter was holding a boundary.
I was on the edge of my seat in the cinema at the New Orleans Film Festival.
All of a sudden, a wail erupted from the back of the theater. I looked behind me: A young woman, who looked to be in her early 30s, slumped over in her seat momentarily. She quickly got up and began yelling at the couple sitting in front of her: “I’m OK! Are you OK?! I’m OK!”
I was in an aisle seat about 10 feet away from her. The heightened emotional scene continued to unfold on the movie screen, but every person in the theater was fixated on this young woman in the throes of a crisis.
I was glued to my seat, holding my breath. The first thought that flashed through my mind was the mass shooting in a movie theater in Aurora, Colorado in 2012. The shooter killed 12 people. "Is this how helpless they felt at that moment?" I thought. I wondered if the woman was going to pull a gun out of her bag and open fire on us. I felt so vulnerable being in such close proximity to her, and tried to avoid eye contact.
Then she put her hands above her head, yelling “Hands up! Don’t shoot!” as she marched down the aisle. An organizer from the New Orleans Film Festival guided her out of the theater.
In the film we'd been watching, "Removal of the Eye," the married co-directors, Prashanth Kamalakanthan and Artemis Shaw, play fictionalized versions of themselves. They are struggling with new parenthood, stalling careers and caring for an aging parent in decline. Their lives are thrown into chaos when one spouse's immigrant mother goes on a mission to exorcize the family from the evil eye. The film is a thrilling comedy with a current of anxious tension running throughout.
I talked to Kamalakanthan about what he thought was happening during that moment, which interrupted a pivotal scene. He said that to him, the energy in the room felt more like concern for the woman than overt fear. The wail had sounded like a loud groan to him, and he initially thought someone was responding poorly to the film.
“Oh no, it’s playing really badly in the room,” he'd thought. He realized how serious the incident was when he saw the woman walking out with the help of festival staff.
“Then I was a little shook and distracted from the rest of the screening,” he said.
I was, too, because I realized how socially conditioned I am to anticipate the worst when a stranger freaks out in a public place. It wasn’t just Aurora, but every single mass shooting and grieving parent and person I’ve lost to gun violence that has imprinted on my psyche.
Combine the skyrocketing mental health crisis in our country with the mass proliferation of guns and loose gun laws, and this is what you get -- heart-pounding paralysis in a theater seat when someone has a psychotic episode near you.
The festival staff helped the woman get medical attention. Those of us in the audience shifted our attention back to the drama on the big screen.
There’s a point in the film when Shaw's character says, “I feel like something really, really bad is going to happen.”
I thought about that line later as I processed what had happened in that room.
How did we let our society get to the point where this sentiment has become our cultural touchpoint in an emergency?
Sadly, we know the answer to that.