YALE (DWF LA 2026) Based on an astounding true story

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YALE


Jay Silverman‘s Dances With Film LA feature, YALE, opens this festival edition. Mackenzie’s unresolved childhood trauma manifests as alcoholism and a successful but unfulfilling writing career. After an altercation with a fan leads her to another arrest, her already strained relationship with her ailing son becomes way more complicated. Ryan needs a kidney transplant, forcing Mack to track down her estranged father. What begins as a transactional relationship develops into a meeting of the minds, a hashing out of past wounds, family secrets, and a connection neither expects.

Based on the wild true story of writer Van Billet‘s maternal grandfather, the screenplay explores cyclical trauma with authentic heart and laughs. Mack quickly realizes how disconnected she is from Ryan. Yale’s jokes are simultaneously funny and eyeroll-inducing. But the depth lies within the sadness and unfathomable reality of Yale Parker.

The similarities between Mac and Yale are narrative heaven. In their cynical back-and-forth, they both treat truth like an inconvenience and deeply care about Ryan. Together, they navigate the crappy hand they’ve been dealt by chasing down a kidney.

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Rachel Harris plays Mac’s literary agent and only friend, Susan. Any time we see her, it immediately elevates the project. Benjamin Mackey gives Ryan a wonderful spunk, easily holding his own alongside the adults.

Kevin Dunn makes Yale a fully fleshed-out and terribly charming guy. He manages to be lovable through a laundry list of bad behaviors. Caitlin McGee is undeniably grounded, bouncing off Dunn like an absolute pro. She has a Kate Walsh look and energy. She genuinely owns every beat. Dunn and McGee have fabulous chemistry. They are incredible scene partners.

Billet’s script delivers a nuanced take on generational trauma, desperation, and eventually a father-daughter road movie. There is so much meat on the bone, Yale could easily translate into an entire series. DWF LA 2026 audiences are in for quite a ride.

WRITER: Van Billet
DIR: Jay Silverman
PRODS: Jay Silverman, Bethany Cerrona, Ian Christian Blanche, Kevin Dunn, Joe Gamache
CAST: Caitlin McGee, Kevin Dunn, Rachael Harris, Benjamin Mackey, Dominic Leeder

Based on a true story about a troubled woman who must confront her deadbeat father who abandoned her as a child as the last ditch effort to find a donor kidney for her dying son.

Review: ‘Standing Up, Falling Down’ a Bona Fide Winner

It seems strange that Ben Schwartz (of Jean-Ralphio Saperstein from Parks & Recreation fame) had two films that opened on back-to-back weekends and they couldn’t be more different. The first, the much maligned Sonic the Hedgehog opened HUGE and took home the box office crown the past two weekends. The other, Standing Up, Falling Down, opened to much less fanfare but is the far more interesting of the two.

The film gives us the story of Scott Rollins (Schwartz), a down on his luck comedian living in LA who gives up on his dream of making it big the comedy world and comes home to Long Island to reset his life. Of course, like many who set off in the way of Horatio Alger and head west, Scott hangs his head in shame as the prodigal son returns home broken. He’s greeted half-heartedly by his father (Kevin Dunn) and enthusiastically by his mother (Debra Monk) who is happy to have him home. Scott settles into his childhood room that appears no different than when he lived there as a child. Of course, the girl he left behind brokenhearted, Becky (Eloise Mumford), has since married and looms large in the whole scenario. Adrift and unsure of what to do with himself, he meets up with his friend Murph (Leonard Ouzts) at a bar and sees what his life would have been like if he played it like most do – wife, kids, house and all that comes with it. While in the bathroom, he runs into Marty (Billy Crystal), an alcoholic dermatologist who pisses in the sink then tells Scott he’s got a skin issue and he should come by his office to have it checked out.

After meeting up again at a wake, the two form a quick bond and open up to one another about the various things they’ve screwed up in their lives. Marty acts as a guide of sorts, helping Scott navigate the shit situation he’s steered himself into. Likewise, connecting with Scott helps Marty work through his own shit although it happens a little more circuitously.

What unfolds is not all that surprising, but it is a ride worth taking. I found myself incredibly invested in both characters. I know that if I had made a few different decisions in my life, I could easily have been Scott, aimlessly wandering hoping to latch onto that one thing that will make me whole. I’m sure we’ve all had those thoughts.

What really drives this film is the performances of both Schwartz and Crystal. Both have larger than life personalities that can be overwhelming (in a good way, of course). While I lament that there was no running over by a Lexus, Schwartz especially surprised me with his standout performance – subdued but charming and funny with spot on timing and delivery. I hope to see much more of this type of role for Schwartz. Crystal is a legend and he didn’t disappoint. Always able to balance humor and drama, he gives a performance that stands up with his best. Both actors were so relatable and they played perfectly off of one another that kudos are necessary to whomever cast them together.

This is a very satisfying film experience and well crafted by director Matt Ratner with a solid script written by Peter Hoare. Grace Gummer, Caitlin McGee, Nate Corddry and David Castañeda round out the great cast.

I would highly suggest catching this one if you can. It is still in theaters and available through various streaming sources.