Having two actresses simultaneously play the same 30 year old woman dealing with the death of her mother is an ostentatious approach to take to a film. It also really works.
Essentially we constantly have the inner monologue of this character making itself known and the often conflicting thoughts being shown to the audience. 'Tall' Cassie is more agressive & messy, 'Short' Cassie is more empathetic & together, so when a potential romantic partner asks if she's interested in a relationship 'Tall' Cassie instantly says no, 'Short' Cassie says maybe. When a workman catcalls her 'Tall' Cassie says Thank You, 'Short' Cassie says FU. What each of them feels at every moment allows us to see the confusion of a millenial woman.
It also explores the legacy of feminism through the ages. In flashbacks to Cassie's mother we gradually uncover her story with it's disappointments and regrets. To some degree, as with so many women, she chose family over career and had much wasted potential. Potential that will never now be fulfilled. At least that's how Cassie feels, and Cassie's battle with guilt and resentment over her dead mother is the backbone of this film.
Exploring grief in a painful, truthful occasionally funny way is one thing that this film does very well. The things said, the things unsaid, the feelings revealed to someone no longer there. Regret of never being able to say all the things you wanted to say, remorse of the things you did say. It's all there. What happens when you dedicate your life to your children, and your children worry they're not worth it?
Patricia Rozema directs this film with a lot of flair. Not only managing to get outstanding performances from her leading ladies, and original playwrights, Amy Nostbakken & Norah Sadava, but putting surrealistic touches into the flashbacks. Sometimes these women/this woman just breaks into song. And having the score be a capella humming done by Amy Nostbakken is bizarre, but weirdly effective.
A film dealing with generations of women who struggle to have it all and a palpable study of the grieving process. This is excellent and highly recommended.
Essentially we constantly have the inner monologue of this character making itself known and the often conflicting thoughts being shown to the audience. 'Tall' Cassie is more agressive & messy, 'Short' Cassie is more empathetic & together, so when a potential romantic partner asks if she's interested in a relationship 'Tall' Cassie instantly says no, 'Short' Cassie says maybe. When a workman catcalls her 'Tall' Cassie says Thank You, 'Short' Cassie says FU. What each of them feels at every moment allows us to see the confusion of a millenial woman.
It also explores the legacy of feminism through the ages. In flashbacks to Cassie's mother we gradually uncover her story with it's disappointments and regrets. To some degree, as with so many women, she chose family over career and had much wasted potential. Potential that will never now be fulfilled. At least that's how Cassie feels, and Cassie's battle with guilt and resentment over her dead mother is the backbone of this film.
Exploring grief in a painful, truthful occasionally funny way is one thing that this film does very well. The things said, the things unsaid, the feelings revealed to someone no longer there. Regret of never being able to say all the things you wanted to say, remorse of the things you did say. It's all there. What happens when you dedicate your life to your children, and your children worry they're not worth it?
Patricia Rozema directs this film with a lot of flair. Not only managing to get outstanding performances from her leading ladies, and original playwrights, Amy Nostbakken & Norah Sadava, but putting surrealistic touches into the flashbacks. Sometimes these women/this woman just breaks into song. And having the score be a capella humming done by Amy Nostbakken is bizarre, but weirdly effective.
A film dealing with generations of women who struggle to have it all and a palpable study of the grieving process. This is excellent and highly recommended.