The Body Remembers When the World Broke Open

source: The Body Remembers When the World Broke Open

A film made by women about women's issues is always welcome, even if there is an offer that is sometimes obsessive about heartbreaking lesbian love, menstrual blood and explicit sex, which distances them (the filmmakers and their audience) from the global panorama and social, ethnic, ideological and professional variables too distant from what happens in spaces less comfortable than those of the middle class, and from beds, cots and hammocks. Just as in "Les prières de Delphine" --which I saw at the Panama Human Rights Film Festival - BannabáFest, where it won the award for Best Documentary-- "The Body Remembers When the World Broke Open" is one of those films that make a different proposal, with an original story of women's experiences. This time it is a drama about two women from ethnic groups in Canada, who meet by chance one morning when motherhood, physical abuse and female solidarity lay on the table. Sophie (Violet Nelson) is a marginal girl, with bad habits (she takes drugs, steals, doesn't work), mistreated by a ruffian lover and by the Canadian authorities, in an advanced state of pregnancy, who is constantly assaulted by her partner; and Áila (Elle-Máijá Tailfeathers, one of the directors) is the daughter of a Norwegian and an indigenous woman, who moves in a circle with greater opportunities than Sophie has, with the desire to be a mother. For a couple of hours, they discover themselves and each other, in a framework of tacit reproaches of social inequality. Without detracting from its dramatic value, for me (as for other reviewers in this page) the most interesting thing about "The Body Remembers When the World Broke Open" is its aesthetic proposal. Everything takes place in a few hours of the day and the frequent uncut shots create the feeling that the film is told in real time. It is a work without the rush of commercial cinema, without multiple frenetic cuts, in which we calmly observe and listen, in which we experience the long pauses that the protagonists take in their exchange. The film is so focused on them and their dilemma of the day, that few of the characters we see on screen. Almost all their interactions take place outside the frame: the emphasis is on Sophie and Áila, and later two other women who they give access to their problem. And on the dramatic side, the film gives a great solution, when not giving the public answers, and not explaining anything about the past or suggesting the future of Sophie and Áila. Realism is the rule. Watch it. The movie won the Best Canadian Film Awards at the Montreal, Toronto, and Vancouver Film Festivals, and from the Vancouver and Toronto Film Critics.

What an absolute gem. A perfect example of how "less" can be so much greater than "more". Simple cast, simple dialogue, simple setting. Moving story, superb acting, brilliant directing, powerful message. Probably one of my two favourite scenes, no words, just a lost broken girl and some music, you can believe that simple song takes her back to a safe and happier memory. The two lead actresses did a marvelous job transporting you into their world. Every decision Alia makes you say to yourself, "I would do that." Everything Rosie says you know someone is saying. Movies are meant to educate, elicit emotions and leave a lasting impression, whether they be adrenaline inducing rollercoaster rides or simply to share a glimpse in the lives of people two ordinary people. This movie met and excelled at that.

This is cinema-verite of the perils of a native woman trying to adjust to living in a large city - in this case Vancouver. The strength of this film is that there is no glamorization. Rosa is both victim and predator. And Aila as the Good Samaritan is more a victim. Also the film is complex, no easy solutions are offered. The film is slow-paced with no histrionics. If you are a fan of action films then better to skip this.

Smart, subtle and powerful. A great film with a great cast. It's by far the best film about Vancouver.

They shot the film in real time, in a single continues take and that's so rare because it takes a lot of work at choreographing everything at the smallest details, but regardless of the effort I don't think that they managed to achieve something special with the way they shot it. There is a lot of black shades that prevent you to see the faces of the actors at some scenes, so nice effort but it could have been much better. The cast did a very good job. The two main actresses are very good here, but then again that's to be expected when in a film planned with this much detail. Overall I really liked the movie although there are a few scenes when they drag it a bit and as intimate as the movie is at saying this small story, the message of the film it's universal and important.

One of the most incredibly close, really personal films I have ever seen. Sensory and emotional realism in every frame.

I like slow burn movies, but this one had absolutely nothing going for it. The entire thing has such little dialogue for a nearly 2 hour movie that I would skip whole chunks where the characters were just gazing out a window for 5 minutes contemplating life, or just sitting around not interacting hardly at all. I couldn't find any trace of a real story and by the end I was confused about what the whole point of it really was. If it was suppose to highlight the importance of seeking help in an abusive relationship, it failed miserably.

First of all I loved the storyline, and the attention to detail - particularly within the dialogue. It's slow realism, so won't appeal to the mainstream audience (maybe). So glad I've seen this. Very surprising for Netflix indeed.

Two young First Nations women meet at an east Vancouver bus stop: Rosie (Violet Nelson) is pregnant, poor, and trying to get away from her common-law boyfriend who has beaten her; Aila (Elle-Maija Tailfeathers, one of the film's writer-directors) lives independently and does not have the hardships that Rosie has. Aila does all she can to rescue Rosie from her situation. Writer-directors Tailfeathers and Kathleen Hepburn made a clever choice in filming most scenes in real time while occasionally keeping the camera focused on only one character for several minutes. The impact is strong while such choices often fail in other films. Aila is a genuinely helpful person whose great intentions may not succeed. In real life, they rarely do. It doesn't help that Rosie does some shocking things that show great ingratitude to the generosity Aila gives her. Further credit to the filmmakers on this characterization: Rosie's victimization in life causes her to act in harmful ways toward others even those who want to help her. The highlight of the film is a visit to a women's shelter in which two of the support staff (played by Charlie Hannah and Barbara Eve Harris) interview Rosie. The caretakers show an exemplary combination of compassion and intelligence. They avoid flinching when Rosie casually tells them details of her very difficult life situation. Instead, they respond with calmness and warmth as they continue to ask her questions. They are the kind of people any one of us would want be on our side during difficult times. There is no doubt that real-life shelter workers are as remarkable as those portrayed in this film. One reason this scene is so exceptional is that women's shelters are rarely, if ever, settings in movies. Further to that, the movie stands out overall as it humanizes those whose hardships are often merely summarized statistically in newspaper headlines. And let's not forget: the cast is great. - dbamateurcritic