We all have dreams. They begin as a small nudging in our psyche, taking root in our brains' forefront until we either grasp on to them or push them in the background. Director/Writer Moez Solis' debut feature The Mentor explores how far some people go to see their dreams realized and why artistic integrity is seemingly nonexistent in the entertainment industry.
The Mentor follows Nilah Williams (Brandi Nicole Payne), an aspiring filmmaker desperate to get her foot in the door. Nilah is determined to latch herself on to filmmaker, Claire Adams (Liz Sklar), whom she sees as a mentor. More focused on her own ambitions than helping others, Claire is only convinced to aide Nilah in her endeavors after being saved from getting run over by a car. Even then, her "help" comes in the form of harshly critiquing Nilah's script.
However, just as Claire agrees to lend her ear and expertise to Nilah, the women are kidnapped by a group of animal mask-wearing vigilantes, Mr. Owl (Mike Bash), Mr. Raven (Michael James Kelly), Mr. Emu (Santiago Rosas), Mr. Pigeon (Corey Jackson), and Mrs. Hawk (Julie Lockfield). The enigmatic group takes them on a wild goose chase in an effort to get Claire to help them finish a film that's already in production. Solis tells his story using a non-linear timeline, connecting the present to the past. In the first half of the film, he pulls his audience in as we try to unpack the motive behind this kidnapping while learning more about the people holding Nilah and Clare hostage.
Mr. Owl is the group's leader; Mr. Raven is terrifying and aggressive. Mrs. Hawk is strange but adds a comedic element to the film. Mr. Emu feels sorry for his captors and Mr. Pigeon's intentions seem more romantic then sinister.
As Claire and Nilah begin to put pieces of the kidnappers' puzzle together, Nilah realizes her mentor isn't exactly who she claims to be. As she comes to the realization, Solis centers some of the issues that have plagued the film world since it's inception, including abuse of power, nepotism, exploitation of newcomers, and the fraternity-like old boys club that continues to run Hollywood to this day.
It's clear that The Mentor has a lot to say about the filmmaking industry, artistic integrity, and how far some people are willing to "make it." Unfortunately, some of it is buried under film jargon and a somewhat convoluted plot. Both Sklar and Payne hold the film together. When the movie strayed from Nilah and Claire, honing into some of the other cast, it stumbled. The ensemble cast didn't quite hold the audience's attention, mostly since our investment was so deeply embedded into what was occurring been the kidnapped women.
Additionally, some strange moments don't seem to fit into The Mentor's tight 74-minute runtime. There was a shocking scene involving a bloody tampon that was much more unpredictable than the film's "twist." At times, the film seems to lose focus from its established narrative and tone — especially when it gets lost in film theory and history, using film terms and dialogue that the average moviegoer won't be able to grasp.
The Mentor has good intentions, however, it doesn't quite come together because it never decides what kind of movie it wants to be. Comedic thrillers are always challenging, and getting every aspect just right is no easy feat. Still, despite some of the film's issues, Solis' intent remains front and center even if it's not delivered in a perfect package.
The Mentor is available on Amazon, iTunes, Google Play, Playstation, Tubi and YouTube.