Like the auteur Wiseau, Matt Kelly's dream persona, referred to as "Killer," grapples with the she-demon haunting him. Yet in his film The Room, "Johnny," Mr. Wiseau's role, is crippled to inaction by the cheating machinations of fiancée Lisa, while Kelly's nightmare version of Killer (portrayed by Max Besner) proactively murders his true love Meghan, as well as every other female character in the production (all played with various accents by Katy McGrath), as they all represent her nature of betrayal due to their having of vaginae.
Despite their differences in methodology, their denouement remains similar: Johnny, too perfect and pure for this world, removes himself from it, while Killer, filled with peace of mind, concludes to remove everyone else. Killer, though, may have the edge on Johnny, as he has realized that women are for copulation, but murder is his one true lady.
Kelly's monologues, while brief and arresting, are saddled with in-between "Nightmare" segments acting out his murders, riddled with dialogue that sounds false compared to his tight solo scenes. Also perplexing are the costume designs for the "Nightmare" scenes, which evoke the character designs of Capcom's Super Street Fighter II: Turbo Edition.
The triumph of a film like The Room lies in its bizarre cultural impact and the invitation it gives the audience to freely laugh and cringe at a man's self-unrecognized flaw. The Nightmare Man succeeds in the latter, but in the ephemerality of the Fringe Festival it is doomed to be forgotten.
But not by me. Kudos.