As another mentioned, this also reminded me some of "Morvern Callar" ( a great book and movie). However "Morvern" seemed more a paean to existentialism. In that book/movie, sure there is a death early on that sort of launches the great Samantha Morton on her way, but her adventures felt like a natural extension of her identity.
Here Abbie Cornish's character recoils from an incident that opens the film, and her "Heidi" feels a lot more like a girl than "Morvern's" woman. She too has an adventure, and her naivete somehow portrays her vulnerability and strength.
I'd also add that this film is a quest for empathy, while "Morvern" as I recall has as much interest in empathy as an ant.
The teenager at risk may be a sadly recurring theme (in film and life) but director Cate Shortland finds little touches here and there, red mittens, a doughnut, the toy piano on the Decoder Ring soundtrack, breath flashing in frozen air. The movie captures a coldness in its Australian Alps (never heard that phrase till this) to reflect the callousness that Heidi navigates.
The inn-keeper was pivotal and offered more than temporary shelter to Heidi, but also offered an emotional center for us the audience. The men without fail here are either faux tough or righteous, but authentically weak. Their weakness amplified by efforts to exploit.
At one point, Heidi and one of the weak men stop in front of a lake, that was a man-made, flooded zone where beneath it houses, and streets lie submerged. Perhaps a bit heavy handed, but that notion of what lies "under the surface" is how the characters are strung together in this.
Heidi seems destined to sink and drown, but has a strange buoyancy that keeps you watching. Keeps you hoping.
I'm curious to see more of Shortland's work after *finally* having this bubble up in my queue. Preferably "Flowergirl" before "Black Widow" though. The DVD extras here were a nice study in why leaving details out (a homework scene and a back-story for Heidi's collage work) can end up adding more to a movie.
The movie is a bit of a heart-twisting watch, but well worth it.
A stick-with-it film imho.
Shortland also mentioned bleaching Cornish's eyebrows, which gave her an almost alien look at times...which fits with the sort of strange way she floats through the film. It also made her look very young, I believe the character was supposed to be 16. Granted the actress was I think in her early 20's, still that might speak to something unpleasant and beneath the surface in our western cinema gaze?
For a less cynical take, Heidi's just wanting to be loved and specifically to hold hands. That broke through the jaded surface to me, of course it has a childlike affect, but reminds me of a authentic kind of love that too often gets dismissed. This was one of those films that had me wondering how to be more tender to those I love. If not to be a better and kinder innkeeper no matter what may happen.
Here Abbie Cornish's character recoils from an incident that opens the film, and her "Heidi" feels a lot more like a girl than "Morvern's" woman. She too has an adventure, and her naivete somehow portrays her vulnerability and strength.
I'd also add that this film is a quest for empathy, while "Morvern" as I recall has as much interest in empathy as an ant.
The teenager at risk may be a sadly recurring theme (in film and life) but director Cate Shortland finds little touches here and there, red mittens, a doughnut, the toy piano on the Decoder Ring soundtrack, breath flashing in frozen air. The movie captures a coldness in its Australian Alps (never heard that phrase till this) to reflect the callousness that Heidi navigates.
The inn-keeper was pivotal and offered more than temporary shelter to Heidi, but also offered an emotional center for us the audience. The men without fail here are either faux tough or righteous, but authentically weak. Their weakness amplified by efforts to exploit.
At one point, Heidi and one of the weak men stop in front of a lake, that was a man-made, flooded zone where beneath it houses, and streets lie submerged. Perhaps a bit heavy handed, but that notion of what lies "under the surface" is how the characters are strung together in this.
Heidi seems destined to sink and drown, but has a strange buoyancy that keeps you watching. Keeps you hoping.
I'm curious to see more of Shortland's work after *finally* having this bubble up in my queue. Preferably "Flowergirl" before "Black Widow" though. The DVD extras here were a nice study in why leaving details out (a homework scene and a back-story for Heidi's collage work) can end up adding more to a movie.
The movie is a bit of a heart-twisting watch, but well worth it.
A stick-with-it film imho.
Shortland also mentioned bleaching Cornish's eyebrows, which gave her an almost alien look at times...which fits with the sort of strange way she floats through the film. It also made her look very young, I believe the character was supposed to be 16. Granted the actress was I think in her early 20's, still that might speak to something unpleasant and beneath the surface in our western cinema gaze?
For a less cynical take, Heidi's just wanting to be loved and specifically to hold hands. That broke through the jaded surface to me, of course it has a childlike affect, but reminds me of a authentic kind of love that too often gets dismissed. This was one of those films that had me wondering how to be more tender to those I love. If not to be a better and kinder innkeeper no matter what may happen.