The Way of Glass is about a troubled college kid, Sophie (Frances Pabón), who thinks she has found a new path, a new teacher, an escape. We follow her home on a pilgrimage, first to see her ambitious, academic boyfriend, Keith (Michael Sutherland), and then to the apartment lousy with ghosts where her older brother, Daniel (Kai Issey) is locked in an uneasy truce with their overbearing mother, Marcy (Rachel Marcus). Young Sophie and her brother grew up in a household run by vaudevillian actors who tended to believe that all problems could be remedied by a tangerine or a bowl of consecrated chicken soup. The two siblings could not find a better match than one another to share their woes, their spiritual and social alienation, their cross-bearing egotism and their insufferable superiority complexes. But Daniel, a bit older and wiser, has been in this game a few extra years, while Sophie is still just a grasshopper. The story is narrated and directed by an omniscient older brother, Teddy (Theodore Bouloukos), a charming writer, teacher and sage of sorts who walks through their lives with a survivor’s sense of remorse, nostalgia and fortitude. Overshadowing the story and the heart of the family is the wake of its messianic firstborn kin who, though no longer with them, has never been more present. Don’t be misled; though rife with harsh words, piercing discord and cynical tirades, the Glass tale is-without question-a “compound, or multiple, love story, plain and complicated.” Based on the words of a great American author, and re-imagined by a team of innovative, young filmmakers, The Way of Glass conjures up a stunning visualization of a classic, cherished story.