The loss of a child is one of those traumatic catalysts which, though it makes for good dramatic fodder, is horrific enough to frighten audiences away from any movies dealing with the situation. But in the right, sensitive hands, such as Robert Redford's in Ordinary People and now, John Cameron Mitchell's in Rabbit Hole, it can also trigger insightful performances which encourage a persuasive identification. Transitioning into the mainstream after directing two somewhat outrageous indie ventures (Shortbus, Hedwig and the Angry Inch), Mitchell has found the right material to delve into.
