Har’el and LaBeouf have created a beautifully made, healing film that gives as much as Shia likely got from the process.
When I was a teenager and feeling particularly upset, I would draw thick rings on paper with a pencil, over and over again until the lead snapped, the paper ripped or I calmed down. Even now, as an adult, I still draw to calm myself, usually repeating leaves that fill the page.
That’s the general theory behind art therapy. The branch of psychological therapy is about building up an individual’s sense of self, allowing them to process and release pent up emotions through creativity and visual language, even the low-fi, self-administered version of art therapy I did as a teenager. According to the
, art therapy has the potential to “foster self-esteem and self-awareness, cultivate emotional resilience, promote insight, enhance social skills, reduce and resolve conflicts and distress, and advance societal and ecological change.”, directed by Alma Har’el and written by former child star and walking controversy Shia LaBeouf, is art therapy in motion. The script started life as part of LaBeouf's therapy, when he was in rehab diagnosed with severe PTSD.
He doesn’t hold back on depicting James’s -- and what we imagine are his own father’s -- pathetic, angry and cruel outbursts, that include belittling his son’s genitalia. But it’s a complex portrayal and one that only works with Shia himself in the role. More than fetishising the pain his father instilled in him, LaBeouf turns it into intimate mask work, weaponising it and using it as part of his healing process.
And he's right about endings: there isn’t one for recovering from trauma, even if art allows us to manifest them. It’s too simplistic to say that art can heal all wounds and too naive to expect art therapy to be as neat an emotional package as. But there’s something to be said about the healing power of processing our emotions and traumas from a healthy, safe place, something that movies like
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