I Believe in Unicorns

When I first saw "I Believe in Unicorns" I was immediately struck by its power; completely enamored by its sheer beauty and the importance of its narrative. What specifically struck me was how unabashedly truthful it is, unapologetically entreating us to understand a young girl's plight for serenity and what that may mean. Its pendular narrative dances between fantasy and reality revealing how a girl copes and ultimately accepts the brutalities and pain of the world in which she lives; rightfully redefining the "coming of age" genre entirely. The film really spoke to me, and I believe it to be a must see for every woman of any age.

I am a guy, so I am not the target audience for this picture, because girls are. I dont necessarily dislike girly pictures, but this movie is nothing else but a total girly picture, without ever being really funny or really dramatic.

The good: beautiful photography. Good acting. Gentle, lovely story about a girl's first true love.

The bad: no real drama, no real spark or punch, it's all quite lovely and beautiful artsy to watch for sure, but lovely is all there is to it and I am definitely missing some real drama. But hey, I am a guy, and as I said before, I am not the audience this movie was made for. So take my review with a grain of salt, many other (female) reviewers loved this movie...

I like this film. It has got heart, it has good intentions for the cinematic language that I so adore. I feel like the filmmaker is earnest and thoughtful with the script and the performances are very strong and show a lot of talent on her cinematic future. However, I've been following this movie online and keep seeing photos of the filmmaker, Meyerhoff at festivals. Great right? Well, yes and no. Yes, it's great the film is getting out there, it should! No because it's more that a little embarrassing to see a 38 year old woman wearing a unicorn prop on her head, as though she's so desperate to hype her film that she'll turn into a corny advertisement. Is this what cinema has come to? I should hope not, not in the cinema I know. I get it, you're supposed to do something "striking" and "wild" to stand out, but Miss Meyerhoff, if you need to walk around with a toy horn on your head to get press on your film, or to get attention, well that's just sad and pedestrian. Have some pride in yourself and your work. You are a talented filmmaker. Please take the horn off and have some respect for yourself, your collaborators and most importantly, for cinema.

Besides the corny advertising, as a critic I do recommend the film. Don't let the harsh truths discourage you. It is a VERY strong film!

I Believe in Unicorns is a poignant, down-to-earth look at the complications of coming of age and young love. Having first seen this film when I was in my early teens, it emotionally affected me on a personal level and has carried with me throughout my high school years.

One of the film's strongest points is its aesthetic beauty. With gorgeous cinematography and inventive use of stop-motion, the film visually carries along like a dream, or somebody's hazy, nostalgic memories of a summer long ago. It sinks us deeper into Davina's fantasy world and lets us see the world through her naive, rose-colored glasses. Anybody who's a fan of cinematography will adore this movie.

Davina is an interesting character- shy and naive, perfectly portrayed by Natalia Dyer. She's caught up in her own fantasy world, which blinds her from the truth of her prince charming, Sterling. He becomes increasingly violent, up until the film's explosive end. The film doesn't shy away from showing Sterling gradually take advantage of Davina's naivety and purity, and we're given a raw, realistic look at abuse and the rough waters of youth. We're taught a cautionary tale along with Davina, and this film is an essential watch for any teenager.

I Believe in Unicorns is a poetic and deeply intimate film. Its greatest achievement is how it conveys the loss of innocence as a teenage girl discovers womanhood/independence through a road-trip with her boyfriend. However, this newly discovered freedom seems to be just as disturbing as the home life she seeks to escape. Meyerhoff depicts through stop- motion and an effusive color-palette the POV/Internal life of our main character--Davina. There are unicorns, knights, princesses--it's a narrative of mythology to describe how her childlike internal world is trying to make sense of the looming chaos of her adult life.

This film does not depict the empowerment of love but is a cautionary tale for the relationships we chase when we are looking to escape our circumstances. And through this cyclone, we see Davina's mythological internal world crumble as her external one transforms.

This film is sophisticated and confident in its approach. It commits to one story/character- rather then a feature aiming to dizzy us with a multitude of sub-plots. The two stories can arguably be distilled to Davina's romance with Sterling and the adventures of her mythological internal world. As a result, you leave feeling you know this person like a best friend or a lover. (A testament to Natalia Dyer's acting).

This is a treat given cinema's ever-growing plague of saccharin and one-dimensional female characters. What you learn about Davina is not just magical--but it is terrifying. And the fact that Meyerhoff gives us such a close portrait of a teenage girl is nothing short of daring (things don't just boil down to getting the romantic interest and being happy--there is nightmare that looms from even chasing one)--from first sexual encounters (the squeaky awkwardness) to finding true love for an imaginary princess. This wide spectrum exists in Davina. I only look forward to meeting more of the characters Meyerhoff brings to life.