2024 is arguably the most interesting Best Actor race in years. Looking at the recurring names appearing in various precursors, one could make a strong case for any of these men to win the Oscar. However, as more and more major awards bodies announce their nominations, one name remains overlooked.

The indie darling Ghostlight (2024) shone as a resilient bright spot in these uncertain times, showcasing the power of healing through art. At the center of the movie is Keith Kupferer, a Chicago-based actor who has steadily performed for decades. He’s no stranger to the screen and made a name for himself on some of Chicago’s biggest stages like Goodman Theater and Steppenwolf. However, Ghostlight feels like the first film project that thrusts this force of nature center stage.

Kupferer plays Dan, a grieving construction worker who accidentally stumbles into the cast of a community theater production of Romeo & Juliet. As he navigates the parallels between the play and his own life, he also sets about reconnecting with his estranged wife and daughter (played by his actual wife, Tara Mallen, and daughter, Katherine Mallen Kupferer).

What is so striking about Kupferer’s work is just how restrained it is. Yes, Dan has his outbursts, but Kupferer creates magic in the quieter moments especially when he’s playing with the character’s restraint or lack thereof. We see Dan’s silent battle with his temper and grief clear as day, yet Kupferer keeps it largely internal until the dam finally has to break, making it all the more effective.

We are watching the epitome of an everyman get in touch with and embrace his emotions for perhaps the first time. Kupferer chips away at Dan’s steely exterior with careful chaos. His embrace of vulnerability is uncomfortably beautiful. He crafts a beautiful mixture of discomfort by tapping into difficult emotions and the liberation that comes from embracing and channeling them effectively. Kupferer’s decision to lean into the messiness of healing allows Dan’s triumph to ring loud and true.

I know so many Dan’s—men who were taught to bury every feeling and discouraged from embracing outlets that didn’t fit into the ideal construct of “masculinity.” Dan is your uncle, your brother, your father. Kupferer’s small, quiet nuances elevate Ghostlight beyond just a family drama about healing–he presents us with a man unlearning societal norms. And while it is still difficult for him and he is far from perfect, he is a far better version of the man we met at the onset of the film.

Kupferer’s performance is a masterclass in restraint and subtlety that allows the scattered outbursts to hit effectively. This is a man who has perfected his craft finally getting a film role that beautifully showcases said craft. While Ghostlight is certainly a smaller film centering on a quiet performance, Kupferer absolutely deserves to be in contention with the best of them.

Essay Courtesy of Adam Patla

Image Courtesy of IFC Films via Daily Herald