Chained for Life

Aaron Schimberg’s dextrous, darkly comedic discourse on physical difference makes you think about cinematic representation without offering simple resolutions.

Aaron Schimberg’s impressive second feature is his response, as a filmmaker with facial deformity, to cinematic portrayals of disfigured people, from Freaks to The Elephant Man. Simultaneously empathetic and sardonic, Chained for Life’s multi-layered meta narrative casts Jess Weixler (Teeth) as Mabel, a well-intentioned Hollywood star. She takes the role of a blind woman in a hospital-based horror movie about abnormalities, directed by an egomaniacal German auteur. As shooting progresses, Mabel gradually falls for friendly British co-star Rosenthal, played by Under the Skin actor Adam Pearson, who has neurofibromatosis.

Writer-director Schimberg challenges you to think about representation and exploitation whilst refusing to offer up any simplistic answers, while also paying homage to previous film-within-a-film-practitioners from Fassbinder to the Muppets.