Shia LaBeouf's Controversial Theater Company Exposed in Buzzy Cannes Doc 'Slauson Rec'
'Slauson Rec' Curtsey of Cannes
Cannes documentary 'Slauson Rec' confronts Shia LaBeouf's volatile leadership, alleged abuse, and complex pursuit of redemption.
One of the most incendiary and widely discussed entries at this year's Cannes Film Festival didn’t arrive with the expected fanfare of a high-profile gala screening. Instead, Leo Lewis O’Neil’s explosive documentary Slauson Rec quietly entered the Cannes Classics lineup—but erupted into one of the festival’s buzziest and most divisive titles following its May 18 premiere. The film received a restrained two-minute ovation, yet the reactions inside the Grand Palais were anything but polite applause: shaken attendees exited mid-screening, stunned by what they had witnessed.
Initially teased as a deep-dive into a grassroots theater company in South Central Los Angeles, Slauson Rec ultimately reveals itself as a piercing exposé of actor Shia LaBeouf’s troubling methods as a teacher, mentor, and creative leader. Shot over several years by O’Neil—who was given complete access to the company’s inner workings—the 2-hour-and-25-minute documentary peels back the curtain on a volatile environment of emotional coercion, performative intensity, and alleged physical violence.
Abuse, Ambition, and Artistic Obsession
'Slauson Rec' Curtsey of Cannes
LaBeouf’s vision for Slauson Rec began in 2018 as a noble ambition: to build an acting company rooted in community, discipline, and the transformative power of performance. The early stages show promise, with passionate students, open dialogue, and a shared goal of artistic growth. But as the camera lingers longer, a much more troubling narrative unfolds. In archival footage and intimate interviews, the idealistic promise erodes under LaBeouf’s erratic behavior, unchecked ego, and toxic control.
One of the film’s most heartbreaking stories centers on Sarah, a young woman who idolized LaBeouf since his Even Stevens days. Despite her mother’s declining health, Sarah committed to rehearsals for a drive-in play produced during the early pandemic. Yet, just two weeks before opening night—and shortly after her mother’s passing—LaBeouf abruptly removes her from the production. His reason? “The show works better without her.”
In another devastating sequence, a teenage actor named Zeke, who had recently booked a role on Netflix’s On My Block, finds himself singled out and increasingly berated by LaBeouf. What begins as harsh critique spirals into humiliation, culminating in a violent confrontation. Caught on camera, LaBeouf slams a table, screams profanities, and eventually shoves Zeke against a wall. Bruised and emotionally depleted, Zeke quits the company just 45 days into rehearsals.
These disturbing moments are not dramatized—they’re raw, unedited footage presented without commentary. Director O’Neil told Vanity Fair he received LaBeouf’s full blessing to proceed with the project and intentionally avoided editorializing the footage. His goal was transparency, not exoneration.
A Public Reckoning, A Personal Statement
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LaBeouf made an unexpected appearance at the Cannes screening, marking his first time watching the completed film. Before the lights dimmed, he addressed the crowd with a terse sentiment: “I’m so grateful [O’Neil] still lets me around him and bring him ideas.” Within the documentary, LaBeouf reflects on camera with startling self-awareness, admitting: “I’ve done a lot of coming to terms with the failure that was my life, and the plastic foundation I had. I left a lot of people in the wake of my personality defects.”
The emotional tone of the premiere mirrored the documentary itself—moments of hopefulness shattered by tension, discomfort, and disbelief. Audience members laughed in shock, winced during confrontations, and fell silent as the footage became more unsettling. Nearly 30 viewers reportedly left before the film concluded.
The project marks a turning point in how LaBeouf’s legacy might be processed. While he has faced a series of personal and legal controversies—including a high-profile lawsuit from FKA Twigs alleging sexual battery, assault, and emotional abuse—Slauson Rec is not about settling scores. It’s about presenting the complexity of one man’s power and how it plays out in a space meant for creativity, trust, and growth.
LaBeouf’s full statement to Vanity Fair reads: “I gave Leo this camera and encouraged him to share his vision and his personal experience without edit. I am aware of the doc and fully support the release of the film. While my teaching methods may be unconventional for some, I am proud of the incredible accomplishments that these kids achieved. Together we turned a drama class into an acting company. I wish only good things for Leo and everyone who was part of The Slauson Rec Company.”
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The story of Slauson Rec doesn’t end with the credits. It raises pressing questions about mentorship, abuse of power, the blurred line between art and trauma, and the performative redemption arcs often extended to famous men. O’Neil’s film, quietly devastating and ethically thorny, forces audiences to confront how we process truth when the subject is both victim and perpetrator, mentor and menace.
As conversations surrounding accountability in the arts continue to evolve, Slauson Rec may well become a flashpoint in the larger cultural reckoning. What price are we willing to pay for genius? And who bears the scars when that genius turns tyrant?
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