Mental 2013

Shirley Moochmoore Toni Collette is a warm, devoted mother living with her family in the sun-dappled coastal suburb of Dolphin Heads. A world away from quiet suburb life, she clings to the comfort of her favorite musical, The Sound of Music, and her gentle, unwavering care for her five daughters. When a sudden burst of impulsive behavior lands her in trouble, she becomes the catalyst for a ripple of consequences that touch everyone around her. Her husband, Barry Moochmoore Anthony LaPaglia, a local politician who travels often and is frequently absent, feels embarrassment and pressure as he tries to keep the family together. In his attempt to shield his public image, he tells the daughters that mum is “on holiday in Wollongong,” a lie that quietly fragments trust within the household.

Barry enlists a mysterious, rough-edged hitchhiker named Shaz who arrives with her dog Ripper and a guarded, stubborn air. Shaz empties the house of fear by imposing a fierce, almost ritual obedience on the Moochmoore girls, breaking through their fear with a blunt, intimidating presence and a sharp, dangerous edge—she even keeps a knife in her boot. Her impact is double-edged: she terrifies the girls into following orders, yet she also inspires them to challenge the small-town bullies who prey on their mother, including their proud, overbearing Aunt Doris and the smug neighbor Nancy, as well as the two mean girls who run the local coffee shop, pressing Shirley to eat donuts she does not want. The town itself seems to hinge on the delicate balance between fear and resilience, and Shaz treats this balance as a battlefield where the “normal” world is, in her view, the true insanity.

Shaz proclaims a provocative philosophy: the normal world is insane, and the so-called crazy are the ones who are truly real. Under her guidance, the Moochmoore girls embark on a dawn climb up a nearby mountain, each choosing a stone from the summit to symbolize their decision to overcome adversity. The climb becomes a rite of passage, a moment where fear is acknowledged yet confronted. Back in town, Shaz nudges Coral to pursue a romance with Trout, a rugged, guitar-strumming lifeguard at the aquatic theme park where Coral works, overseen by the eccentric shark hunter Trevor Blundell. The friction between Coral and Trout is briefly interrupted when he is shown kissing Coral in the shark exhibit, but Shaz’s confidence helps Coral find her voice, and Trout truly falls for her. Their private, post‑closing-night ride down the park’s waterslides becomes a blunt, carefree moment of connection that contrasts with the strained, outwardly polished surface of Barry’s political life.

Meanwhile, the Moochmore family gathers for a meal that fractures the illusion of normalcy. Shaz’s return to care for the family becomes a turning point; Shirley confronts Barry about his infidelities and the fragility of their marriage. She refuses to offer support to his political career without honesty and commitment. Barry begs for her presence at his campaign launch, signaling a bid to restore the outward stability of the family as a public unit.

The tension deepens when Trevor reveals a troubling truth: Shaz is actually his mentally disturbed ex-wife. He explains to Coral that Shaz is convinced that the spirit of their daughter—lost in a boating accident—has taken up residence inside the giant preserved shark in Trevor’s exhibit. Trevor tries to move forward with his life, but Shaz has resisted psychiatric treatment, moving from town to town and building trust with different communities, always lurking just beyond the edge of ordinary life. The revelation casts a new light on Shaz’s earlier actions and the girls’ growing sense of their own boundaries, as Barry responds by contacting the police to have Shaz arrested. Shirley, in turn, is released from the museum of fear and is confined to the same mental institution that she had briefly left behind.

Fueled by a mix of fear, loyalty, and a longing for a stable home, the girls decide to help their mother by liberating Shaz from the institution. They tie up Trevor, and together they steal Trevor’s prized pickled shark. Trevor, tortured by the soft, mournful guitar of his guard, Trout, manages to escape and confront Shaz as she attempts to free the shark from its tank and release it into the ocean. In a desperate struggle near the water’s edge, the tank sinks, and the rope entangles Trevor’s legs just as Shaz dives after the shark, ostensibly to save him. Neither surfaces, leaving a haunting image of the limits of courage and the unpredictable costs of breaking away from fear.

The Moochmore family delivers a final, communal triumph of song, performing a Von Trapp-style onstage rendition of “Edelweiss” at Barry’s campaign launch. Yet even as the family celebrates unity, Aunt Doris confronts Shaz in her doll display room. In a moment of shocking defiance, Shaz declares, “I lived!” and then strips down, triggering a fiery accident. She lights a fart with a cigarette lighter, setting fire to the room and the entire house, and then dashes out the front door, pushing a discarded bin aside as she escapes the blaze, a dramatic end that underscores the wild, disruptive force she embodies.

The film lingers on the interplay of trauma, resilience, and the fragile line between protection and control. Through the eyes of Shirley, Barry, Coral, Michelle, and their extended circle, the story examines how families cope with mental health, stigma, and the push-pull between public life and private truth, all set against a sunlit Australian coast that can conceal as much as it reveals.