Imagine a world where a diagnosis becomes the catalyst for an unexpected friendship, where two strangers navigate the chaos of life with a shared burden and a dash of humor. That’s the premise of Onwards and Sideways, a film that dares to explore Parkinson’s Disease not through the lens of tragedy, but through resilience, laughter, and the unexpected connections that define us. Personally, I think this is a bold move in a genre often dominated by clichés. Why? Because Parkinson’s isn’t just a medical condition—it’s a human story, and this film is trying to reclaim that narrative. What makes this particularly fascinating is the choice of Laura Linney and Rhys Ifans as leads. Both are seasoned actors, but their presence here feels like a deliberate act of defiance against the stigma that often silences those living with chronic illnesses. They’re not just playing characters; they’re embodying a journey that millions know all too well, and that’s a powerful thing to witness.
The film’s director, John Madden, has a history of crafting stories that blend emotional depth with whimsy. From Shakespeare in Love to The Best Exotic Marigold Hotel, his work has always balanced the absurd with the heartfelt. This project feels like a natural evolution of that style, but with a twist. Here, the absurdity isn’t just for laughs—it’s a survival mechanism. In my opinion, that’s where the genius lies. Parkinson’s is often portrayed as a slow descent into helplessness, but this film seems to argue that it’s also a space for reinvention. The trailer hints at dance sequences, which is both audacious and deeply symbolic. Dancing with Parkinson’s isn’t just about movement; it’s about reclaiming agency in a body that’s been told it’s unreliable. What many people don’t realize is how much of a cultural shift this could represent. We’re still in the early stages of normalizing conversations around neurodegenerative diseases, and films like this could be the bridge between fear and understanding.
The script, penned by Paul Mayhew-Archer, adds another layer of authenticity. He’s not just a writer—he’s a co-host of the Movers and Shakers Parkinson’s podcast, which means he’s lived this story, not just written about it. That’s a detail I find especially interesting. It’s one thing to research a condition; it’s another to have your life intertwined with it. His work on The Vicar of Dibley and Esio Trot shows a knack for blending humor with heart, and that balance is crucial here. Parkinson’s isn’t a joke, but it’s also not the end of the road. This film seems to understand that, and that’s why it feels so refreshing. If you take a step back and think about it, the fact that a script by someone who’s actively engaged with the Parkinson’s community is getting a platform at TIFF speaks volumes. It’s not just about entertainment—it’s about visibility, and visibility is power.
What this really suggests is a growing appetite for stories that don’t shy away from complexity. We live in an age where audiences crave nuance, where they want to see characters who aren’t defined by their struggles. Emma and Tony, the protagonists, aren’t just people with Parkinson’s—they’re people with dreams, quirks, and a sense of humor. That’s what makes this film feel like a breath of fresh air. A deeper question emerges here: Why do we still need films like this? The answer, I think, is that we’re still learning how to talk about chronic illness without reducing it to pity or inspiration porn. This film isn’t asking for sympathy; it’s asking for solidarity. It’s saying, ‘Yes, we have Parkinson’s, but we’re still here, still dancing, still finding joy.’
Looking ahead, I can’t help but wonder what this means for the future of storytelling around health issues. Will more filmmakers follow this lead? Will we see more narratives that center on lived experience rather than spectacle? The fact that this film is premiering at TIFF, a festival known for pushing boundaries, is a sign that the conversation is shifting. But there’s a challenge here too: How do you balance the rawness of the subject with the need for a compelling story? The trailer doesn’t answer that, but it does hint at a narrative that’s both intimate and universal. In a world where media often sensationalizes disease, Onwards and Sideways is a reminder that sometimes the most profound stories are the ones that don’t try to fix the problem—they just ask us to walk alongside it.
