Mouse (O'Sullivan & Thompson, 2026) Review: Giving the Space for Grief and Growth

February 15, 20261175 words

Hailey Passmore

The idea of grief, and grief itself, can be treated in multiple ways. From those whose emotions come to the surface to those who hide themselves away. Those too scared to be near someone grieving and the ones who do not give them enough space to grieve. Nobody ever has the right answer. Nobody ever knows what to do. That is part of being human. Death is the inevitable thing we never want to talk about. And yet, death is all around us. The exploration of this all too common human emotion is one that will go on for ages. Yet, when there comes a time for a film to be made and it explores losing a loved one too soon, if done correctly, the impact can be greater than you could imagine.

Recently I have watched a number of films where I have personally connected with the main character. They have mostly been coming of age films where the young girl is lonely, awkward, misunderstood, and even in the ‘closet’. While being able to see my younger self on the big screen is important, I have not had such a deep connection than I did while watching Alex Thompson and Kelly O'Sullivan’s newest film, Mouse. On a personal level, their protagonist felt entirely like what my younger self was. Though the circumstances in the film itself are not what I dealt with in the slightest, there was an additional connection I made with her. This gave me a greater attachment to the film, and allowed for what came with it to be more personal.

To have a character on its own that you can connect with as a viewer and then have them be in the most traumatic and unwished for circumstances, another level of emotional strain appears. After their 2024 film Ghostlight became a festival favourite, O’Sullivan and Thompson have returned with another tear-jerker. From an outsider’s perspective, it is clear this filmmaking duo know how to create a film that surrounds family. Easier said than done, but to make a family drama that connects with your audience, you need the elements and actors there to support the script. It became clear after Mouse’s world premiere at the 76th Berlin Film Festival on Friday February 13, 2026, that they had more than what they needed. Results were more than one could have expected, and as a member of that audience, every member of the cast in attendance was proud of what they created.

In North Little Rock High School in Arkansas, Callie (Chloe Coleman) is the drama class’ shining star with a bright future in show business ahead. Minnie (Katherine Mallen Kupferer), on the other hand, is the best friend who stays in the shadows by being behind the scenes. She is smart and compassionate, but sticks to herself if she is not with Callie. Growing up best friends, Minnie constantly spent time at Callie’s where her lovely mother Helen (Sophie Okonedo) feeds them delicious food while paying attention to them. While Callie may be used to this, Minnie never was as her home life always felt more isolated with her mother, Barbara (Tara Mallen) a nurse who was always at work.

Let us remember the early 2000s to begin with. Those moments when nothing felt more free. O’Sullivan and Thompson welcome the cast into summer 2002 Arkansas and for those who know these suburban towns, nothing feels more familiar. Everything from the scenery to the costumes, it all takes the viewer back to that era and style. Not only does the scene setting allow the audience to immerse themselves in Mouse, the script itself hooks you from the beginning. From moment to moment as the girls’ summer begins we are reminded of each typicality seen in American high schoolers, or adolescents in general to be honest. From everyone’s favourite popular girl, to the wannabe friends, to the shy and reclusive best friend, they are all there. Add in the rich parents of one, to the poor and embarrassing mother of the other, and you have an all American cast of characters that can help shape the film into what it is meant to be.

During this particular summer, Minnie and Callie are enjoying what time they have left before senior year of high school. A typical summer at best until suddenly the lives of those in Little Rock are upended. Minnie is left alone and is now facing the challenge of becoming her own person while her final year of high school begins. Facing unexpected changes along with the loneliness of no longer having Callie, Minnie finds comfort in Helen. A complicated relationship forms as Minnie pulls away from her mother and loses focus on what really matters.

There is something in the way O’Sullivan and Thompson have Mouse play out. Through their chosen elements and beyond talented cast, a safe space is created for grief. The moments that build up to the climax are all there for you to be grabbed by. It is subtle and quiet, but it is all there. With the different types of grief found in every character, O’Sullivan and Thompson created an arena where everyone can see some version of themselves reflected on the screen. Choosing Okonedo along with the cast was a power move which only further excelled their film. Her facial expressions and tone of voice say so much, then add the grief required, she could not have performed better. To then have newcomers such as those in this cast, each possessed more than one could expect from a group so young. But of course, in Kupferer is where the power lies. So much is required of her with the role of Minnie and without each emotion being displayed, the impact her performance has on the viewer would have not been the same.

“It’s strange just how things keep going.”

You see yourself in the characters. When Minnie is trying to find herself after losing her best friend, I see myself most. Not having gone through this type of grief, the personality traits she has in her are within myself. The crafting of this character allows those viewers to connect more and thus create more empathy within them as we witness Minnie spiral. Too young to have to go through this experience, Minnie’s perhaps one-sided connection with Helen is only sensible for what she has gone through. Yet we all know the grief from loss of the friend is nothing like that which a parent feels for their child.

Mouse is filled with layers that you could dig at indefinitely. It is not a light watch, but it is an important and touching one. Through the space they gave their characters for grief, O’Sullivan and Thompson crafted a beautiful piece of cinema. A reminder that our loved ones would not want us to hide from the world in sorrow. Those we lost would want us to live our lives and try to be happy.