Finding Harmony in the Noise of the Mind

Read Time:5 Minute, 29 Second

MOVIE REVIEW
Butterfly on a Wheel
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Genre: Drama, Music, Short
Year Released: 2025
Runtime: 36m
Director(s): Trevor Morris
Writer(s): Trevor Morris
Cast: Curran Walters, Brielle Robillard, Michael Provost, Deanna Mae Lloyd, Kole Parks
Where to Watch: shown at the 2025 Catalina Film Festival

RAVING REVIEW: Trevor Morris makes a striking directorial debut with BUTTERFLY ON A WHEEL, a short film that feels deeply personal yet universally resonant. Morris approaches filmmaking with the same precision he brings to music — layering emotion, rhythm, and structure into something that hums with authenticity.

Set in the bustling heart of Toronto, the film follows Jacen Davis (Curran Walters), a gifted jazz musician whose extraordinary talent is rivaled only by the chaos in his life. Struggling with obsessive-compulsive disorder and anxiety, Jacen’s daily life becomes a symphony of repetition, control, and quiet fear. What could have easily become a clichéd portrayal of mental illness instead turns into an intimately crafted exploration of self-acceptance and creative rediscovery.

Morris doesn’t sensationalize Jacen’s condition or use it as a plot device; instead, he treats it as part of the character’s humanity — inseparable from his artistry. Walters brings a fragile brilliance to Jacen, striking a balance between energy and quiet intensity. It’s a grounded, empathetic performance that captures both the frustration and beauty of living with a mind that never stops. His scenes with Brielle Robillard’s Sorrel, who becomes a catalyst for change, give the film its emotional center. There’s a sense of connection rather than romantic escapism — a rare honesty that gives BUTTERFLY ON A WHEEL its emotional weight.

Supporting performances from Michael Provost as Jacen’s brother Dylan and Deanna Mae Lloyd as their grandmother help anchor the story in love and understanding. Provost, in particular, plays Dylan with an understated compassion that reflects the labor of those who care for someone struggling with mental health challenges. The bond between the brothers becomes the film’s pulse — an unspoken melody that runs beneath every scene.

Morris’ musical background inevitably informs his visual storytelling. Every camera movement, every edit, feels like it follows a score only he can hear. Toronto’s cityscape is captured with both grit and grace, serving as a metaphor for Jacen’s inner world — structured, busy, yet full of moments of unexpected beauty. The choice of jazz as the central art form is a masterstroke; its improvisational nature mirrors Jacen’s journey toward self-acceptance. Through music, he learns to let go — to embrace imperfection as part of the process rather than something to be corrected.

The lighting choices — warm interiors contrasted against cool city streets — subtly echo Jacen’s struggle between control and freedom. Even small details, like the tremor of his hand before a performance or the rhythm of his breathing during moments of anxiety, are captured with care. Morris and his cinematographer understand that mental health doesn’t always manifest in grand gestures; it lives in the quiet, repetitive moments of daily survival.

BUTTERFLY ON A WHEEL explores what it means to be truly seen in a world that often values performance over authenticity. Morris’ own statement reinforces this, noting that the film is about “how we all manage to get in our own way, and what it takes to move beyond that.” It’s a universal idea presented through an intimate lens, and one that resonates beyond the confines of its short runtime.

What makes the film especially affecting is its tone of optimism. While it doesn’t shy away from pain or frustration, it ultimately offers a message of hope — not sentimentally or simplistically, but through small victories that accumulate over time. A successful performance doesn’t erase Jacen’s condition, but it becomes a step toward balance. The metaphor of the butterfly — fragile yet capable of transformation — feels fitting without being heavy-handed.

One of the film’s standout qualities is how it portrays music not just as a career or passion, but as a language of healing. Each note played by Jacen becomes an act of defiance against the rigidity of his compulsions. The music sequences, in particular, are where Morris’ sensibilities as a composer shine brightest — the synchronization of sound and emotion creates a kind of audiovisual empathy.

BUTTERFLY ON A WHEEL ultimately succeeds because it’s a film made with empathy. It doesn’t just tell a story about mental health; it tells a story about what it means to live with it, love through it, and create despite it. It’s about finding harmony amid chaos — about recognizing that sometimes the most profound music comes from within the noise.

Morris’ transition from composer to director feels natural, almost inevitable. His deep understanding of rhythm and emotion gives the film a rare musicality, even in silence. For a short that runs just over half an hour, it leaves a lingering impact — a quiet reminder that art can illuminate the struggles we often keep hidden.

A deeply personal and emotionally resonant short that uses music as a bridge between struggle and self-acceptance. It’s not just about overcoming anxiety or OCD; it’s about learning to play through them.

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[photo courtesy of SNOW DANCE ENTERTAINMENT]

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