Is Family Indifference Worse Than Isolation? Discover the Truth in ‘Reeling’!

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Empathy often leads people to become indifferent towards suffering, in an ironic sense. This phenomenon can be referred to as “compassion-induced apathy.” As we learn about and engage with painful situations or cruel conditions, they impact us emotionally, making us feel guilty. This is why many prefer to donate money rather than physically assist, as writing a check to a dog shelter feels less painful than witnessing the loneliness of caged dogs who are likely to die. Similarly, visiting grandparents in a nursing home or speaking with a truly depressed friend can be sad and awkward. The film “Reeling” delves deeply into this behavior, eliciting compassion-induced apathy in the viewers, making them feel as uncomfortable as the characters on screen.

Titled “Reeling“, this movie had its debut at the 2025 South by Southwest Film Festival and is overseen by legendary director Werner Herzog. Set on the beautiful island of Oahu, Hawaii, it unfolds within a single day. Yana Alliata’s film focuses on Ryan, a man who has both physical and emotional scars, as he reconnects with family and friends at his sister’s birthday celebration, which is also a luau. After a prolonged recovery from an accident that affected his memory and motor skills, leaving him somewhat unstable, Ryan feels ready to re-enter the world, move out of his mother’s house, find employment, and take on responsibilities. In essence, the luau serves as his first major challenge. The scenes are difficult to witness, not only due to the emotional turmoil but also because of the deliberate, repeated cinematography.

The Rejection of Ryan in ‘Reeling‘

In the opening scene of Reeling, we find Ryan, who features prominently throughout the film, diligently logging and consuming his medications. His day’s agenda consists of three main tasks: delivering a cake to a luau, presenting a birthday card, and discussing a potential job opportunity with his brother. From the outset, the audience is reminded of Ryan’s injury through the long scar that runs parallel to his hairline, and it’s unclear whether his ability to drive suggests progress in his recovery or a narrative inconsistency.

At the luau, Ryan shows up and greets folks he might not recall; a few remind him of their identities in hushed tones. The intricacies of empathetic detachment unfold subtly among the crowd. Often, women are excessively friendly and over-the-top, some express concern (“Are you certain about that drink?”), while others, like John, his brother, steer clear of him as much as possible.

In various sequences throughout the movie, we witness Ryan’s profound sense of isolation, as he tentatively attempts to engage with groups of people or places his towel on the beach next to others who seem oblivious to him. He even tries to interact with children to avoid his public solitude. The scenes are both unsettling and melancholic, yet they seem repetitive. Essentially, this film revolves around Ryan’s isolation, effectively portraying the discomfort of being ignored socially, but it never explores other aspects or emotions. Characters are not well-developed, and some aren’t even named; we don’t understand their relationships or how they know each other beyond being acquaintances. While this might reflect Ryan’s memory loss, the constant repetition becomes monotonous.

Amateur but Authentic

In most scenes, Alliata and cinematographer Rafael Leyva’s camera follows closely behind Ryan, moving smoothly except for moments when it pauses for an unusual close-up. This cinematography style seems to blend elements of Gus Van Sant and Terrence Malick, mirroring the wandering thoughts of Ryan while also unifying the entire cast. It calls to mind another film, Krisha, and the exceptional work of its cinematographer Drew Daniels. Similar to Krisha, this movie follows a character who is estranged from their large family, returns for a family gathering (in this case, Thanksgiving), and gradually builds tension and anxiety until a climactic moment of crisis.

In the film “Krisha“, Krisha Fairchild served as an unexpected advantage – her captivating performance as the title character. Conversely, in the movie “Reeling“, the character Ryan, played by actor Ryan Wuestewald, is less engaging, and unfortunately, does not possess the same magnetic charm. Both films utilized non-professional actors, but in this case, the cast, including Ryan, struggled to deliver lines convincingly or fully convey the emotions of a scene. They excelled at portraying normal interactions, and “Reeling” effectively captured the atmosphere of a family gathering (even if it was a more affluent one than most of us are used to), but their inexperience as actors became apparent when they were required to deliver dramatic performances.

The film, titled “Ruling,” gradually intensifies towards the end, making it impossible to look away from Ryan. The finale effectively portrays the underlying resentment, pettiness, and self-centeredness that people often exhibit when confronted with issues they’ve been avoiding. It leaves you with a chilling reflection: perhaps it’s safer to be overlooked rather than acknowledged. Sadly, the harsh, oppressive nature of society can even seep into our closest relationships. Much like Ryan, one might wish to forget such people entirely. “Ruling” is premiering at SXSW and will screen one last time on March 14 at the Alamo Lamar. For more details, please check here.

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2025-03-14 02:05