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.