A day in the life of Ms. Hopkins (Jenifer Lewis), an accomplished middle school drama teacher, is about to take a horrific turn when her school goes into lockdown due to an active shooter on campus. Disbanding her class to follow appropriate protocol, with cane in hand, she makes her way to the stage—seeing the intruder emerge into the auditorium. This is where Sam Henderson’s Oscar-shortlisted film truly begins unraveling, transforming into something guaranteed to transcend audience expectations.
As turbulent a time as we live in, where hate and ridicule seem to lurk around every corner, ADO doesn’t forget about our most essential strength as human beings—compassion. It’s the kind of short film that lingers in your mind long after it’s ended, urging you to find your nearest loved one and embrace them with love.
Bright lights and a cozy set dressed with greenery, Ms. Hopkins has done it all and seen it all, even if retirement seems to elude her. Conducting a final rehearsal of Shakespeare’s Much Ado About Nothing, we get a first glimpse of her empathy as she encourages a young Maddie (Karis Henderson) to not give up her commitment to the play. This touching interaction is fleeting as Ms. Hopkins is cut short as an intercom announcement sends students scrambling for cover. The shooter (played brilliantly by Zachary Lane) barges in, and Ms. Hopkins is left to confront him in a desperate bid to save her life and his in turn.
Tension has rarely held this much weight, with the screenplay by director Sam Henderson and Ryan Romine imbuing every single character with dignity, without undermining the horrific nature of the event that unfolds. Jenifer Lewis gives one of the best performances of the year as Ms. Hopkins, truly embodying the sensitivity of a person who cares in spite of their life being threatened. It’s a courageous stand, marked by a powerful rapport between Lewis and Lane that cuts through the darkness, finding humanity in a decidedly inhumane situation. Henderson’s tight direction ensures we get to see every detail and every line of dialogue play out to the fullest extent. The short film draws you in and glues you to your seat, and the ending is a hopeful, if solemn, gut punch.
Riveting and radiant with warmth, ADO is the type of film you don’t just walk away from. It should be on your must-watch list to experience the beauty of compassion.
