Mental illness can, and has been, represented on the big screen in countless ways over the years, but is the premise of this film an exception? It follows Simon (Lorenzo Ferro). He is the very definition of the phrase “you’re in too deep”: he becomes friends with a community of people who all have learning disabilities by pretending to have one himself. Simon of the Mountain isn’t your average character study; with a subject matter as on the nose, as this is, it can be difficult to fathom a justifiable excuse for the protagonist’s action. Federico Luis’s degree in Social Communication Studies goes a long way in aiding the studious care taken when diving into a premise like this, and you can be sure it’s given him the knowledge to explore these what-if scenarios with the perfect amount of creativity as well as interpreting it with a huge amount of respect.

The film’s beginning is a chaotic fever dream of an introduction. After a literal climb up a mountain (yes, it’s not a metaphor) the titular Simon soon follows his new best friend Pehuén (Pehuén Pedie) back to his residential house where he lives with all the other residents. It’s a seamless fit for Simon though, whose acting skills and props have everyone fooled – he even passed the can-you-make-your-own-bed test – one of a group of specially cultivated questions to determine the length of a person’s motor and social skills and, to an extent, their level of disability. Does Simon have an objective? Is it to make fun of them, like his stepdad claims, or is it so he can learn about a different way of life, one where he can embrace the simplistic things; the joyous aspects that people take for granted?

It’s not long before ‘Mother Morality’ starts to peer her head in and poke the narrative down various avenues as a means of testing not only Simon but the audience too. Simon and Pehuén experience a severe accusation, while Simon’s mother disapproves of his supposed new way of life, especially his questionable relationship with Coco (Kiara Supini) another new friend with Down Syndrome, as well as his overall behaviour becoming more erratic and, even aggressive at times. At the beginning, the claims by Simon’s stepdad look to be potentially true, but as the film progresses and the ethics behind the story become even blurrier, you soon become aware that it could be a mental illness; an impairment that has caused some form of illusory truth effect, and for Simon, it a dangerous road to drive down.

Federico Luis’s debut feature takes on the heavy load of tackling a sensitive topic, that for long periods, does make you question Simon’s alarming new identity, while feeling some form of empathy for this tragically unhinged character. Lorenzo Ferro is a joy to watch, with his magnetic performance being the catalyst for any success the film may have upon release. Ferro balances a delicate line that has caught many an actor out before him, by portraying his version of a disability with great nuance. The switch between the two mindsets is authentic and quick; snapping out of the role like an audience member being hypnotized by a stage magician. The supporting cast also makes a lot of waves, ranging from Laura Nevole’s performance as the concerned but caring mother of Simon to his new friends, especially Pehuén and Coco, with these two delivering legitimate authenticity to the film.

Representing people with learning disabilities has the potential for slip-ups, but the care with which Federico Luis delivered it can be used as a guide for future filmmakers. The characters are a constant source of good-natured humour and their eagerness for adventure – as well as a fiercely defiant side – shines through the screen like a blinding ray of sunshine. It is important to represent everything though, including the not-so-positive. The film showcases two major incidents surrounding the often ease at which people with learning difficulties can be manipulated, with Pehuén’s earlier antics being the first, and Simon’s deviousness being the second example. It forces you to put everything into perspective, and why the line should never be crossed by more able-minded people who should know better.

Simon of the Mountain is a well-rounded movie that uses a multi-threaded premise to its advantage. With that though, is what the film’s narrative could cause, and that’s controversy, due to the safeguarding concern that it’s structured around, and that, for some, might be too difficult to look past when grading this film after viewing. It will ignite conversation though, that’s for sure, and if you love a moral debate, then Simon of the Mountain is a film you should be looking at when choosing your Cannes Film Festival watchlist.

This is a movie that offers enough fuel for even the fieriest of debates. It just premiered in the Critics’ Week section of the 77th Cannes International Film Festival.