The first time I saw CHAPERONE, written and directed by Zoe Eisenberg, I felt like such a basic bitch. I just could not move past how much I hated the film’s main protagonist, Misha played by Mitzi Akaha. Misha was an incredibly awful woman who can best be described as: uji. Of course, to have this visceral of a reaction to this character is a testament to Akaha’s acting chops and Zoe’s writing and directorial skills, a stellar combination.
“Alienated by friends and family for her lack of ambition, 29-year-old Misha finds a dangerous acceptance in a bright 18-year-old athlete, Jake, played by Laird Kaeo, who mistakes her for a fellow student” (IMDB). See? Uji. Other notable performances include Kanoa Goo as her charming, entrepreneurial brother Vik; Jessica Jade Andres as her best friend Kenzie; and Ioane Goodhue as Kana.
Prior to this, the only villain films I had seen were made by Disney. You know the ones, the bad guy is the bad guy until another movie is released talking about how he was dropped as a baby or something and that’s why he’s not a bad guy but a misunderstood guy. A dark, brooding, sexy, misunderstood guy. Villains were no longer villains, they were misunderstood. (As I type that I realize that my taste in misunderstood men has never been my fault, but Disney’s).
But this film is a true villain film. The bad guy was the bad guy and even when given a cat to save, killed it. Literally. Watching this film felt like witnessing a painter paint. Every shot was carefully selected to contribute to the creation and discovery of Misha, the villain. Eisenberg’s use of symbolism throughout the film to emphasize the ever-present feeling of a “shoe about to drop” while also pushing the beauty of Hilo to the forefront, was such a delight to witness.
The film opens with Misha on a date with someone we later learn is a family friend when he reappears at a family party. It’s such a classic Hawai’i moment. I particularly appreciated the subtle way the age gap between Jake and Misha was portrayed. Misha started each morning with a silver spoon pressed to her under-eye bags, a nod to her silver spoon fed life. Meanwhile, Jake hated black coffee (as we all know, only youth have no need for the bitter taste of death in the mornings). He bought her rose-colored heart-shaped sunglasses, a metaphor for how he paid for their relationship with his future. Jake was a hardworking athlete, while Misha never even had to pay for the house she lived in. And he was 18. So while their relationship was disgusting, it was legal. Again, contributing to how Misha did just enough to skate by.
A hole on Misha’s property grew larger as the film progressed, mirroring her refusal to confront the issues in her life. When Jake’s leg went through it, she did not get the wrath she so rightfully deserved. How were more people not disgusted by this woman?! It was yet another example of how someone else had to pay for her choices while she got a slap on the wrist.
And that’s why, like all good villains, Misha was shaped by an even bigger monster—her environment. Her friends allowed her behavior to continue. When things got bad, there was always someone who accepted her, eventually. She was the privileged girl next door who everyone wrote off as easy-going but harmless, and so time and again, she was forgiven. She became who she was because she learned it. She was created.
I’m obviously still fresh off the press with my emotions toward this character, but I’ve realized it’s not just because I’m a basic bitch (though I still am). It’s due to the incredible performances by the actors, combined with Eisenberg’s talent for creating and directing such a frustratingly beautiful film. This was a piece of art. Of course, I still would’ve loved for the villain to pay the price, real stories aren’t like that. Real life villains aren’t like that so why should we only settle for films that romanticize them? I’m looking at you Disney. Maybe if we grew up watching these types of stories, we’d learn to walk away at the first red flag. Maybe. Or maybe we’d just create more.
Anette Arinix Amazing Aga (yes, that’s her real name) is a comedian, actor, writer, and producer homegrown here in Hawai’i. Locals might recognize her as “the wife” from those Diamond Bakery commercials or those weird bumper stickers. She’s graced the stage with theater companies like Kumu Kahua, Manoa Valley Theatre, Mo’olelo Studios, and Stage Fish. Her writing, including her first musical and play, has been featured in the Hawaii Comedy Festival and Kumu Kahua Theatre. In 2021, she co-produced the first Polynesian AF sketch comedy show with Asian AF at the 7th Annual Hawaii Comedy Festival. Anette has also produced shows like ImprovHI’s Comedy Rap Battles, Deck the Ha Ha Ha (a Christmas variety show), and Stories Out Loud, inspired by The Moth. She is OVER THE MOON to have co-produced and starred in SO MUCH NATURE.
The HIFF ONLINE CREATIVES & CRITICS IMMERSIVE (HOCCI) program supports sustainable film criticism in Hawaiʻi through mentorship and paid career opportunities for Hawaiʻi-based AANHPI critics. The mission of HOCCI is to broaden diversity in film criticism across the Pacific and use influencer branding strategies to spark career opportunities. The 2024 HOCCI is supported by Critical Minded, a grant-making and learning initiative that supports cultural critics of color in the United States.
