The Body Remembers When the World Broke Open

I loved every minute of this film. The acting was so realistic and believable, I liked that it was filmed in real time as well as it was like you were with them looking in. Very good.

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

I saw "The Body Remembers When the World Broke Open" a day after seeing "1917." The films share the stylistic trait of being filmed (mostly) to look like one continuous shot. "1917," a movie about a long-ago conflict populated by white men and full of canned platitudes is being heaped with praise and is all over the awards buzz circuit. "The Body Remembers.....", which feels urgent and of the moment, has exactly 4 reviews on IMDb as I write this review, which will be the fifth once I click "Submit."

This is what people are talking about when they vent frustration that movies are so dominated by white male stories. I am a white male, and I don't boycott movies based on them being about white males. "Joker," "Once Upon a Time...in Hollywood," and "Uncut Gems" were among my favorite movies of 2019. But I do also crave stories about and by other demographics, and I understand the resentment when things like "1917" and "Ford v Ferrari," bro films if ever there were any, dominate the cultural conversation while films like this one are barely seen by anyone.

"The Body Remembers..." is a quietly magnificent and very moving film about....well, about lots of things actually. About domestic abuse, first and foremost. But also about class difference, about being a minority, about how some minorities are perceived to be more "minority" than others, even by those in their same demographic. It's about privilege and the blitheness that comes with it, even in well-intentioned people. It's about one person not being able to understand the decisions made by another when the "right" decision seems so obvious. It's a film that communicates as much, maybe more, during its long silent moments as it does when characters are talking. It's my favorite kind of movie, as it doesn't ask its audience to side with anyone or even like anyone. It just asks us to spend some time with them and see what kind of empathy we might have for them. It does what I turn to fictional narratives for...it puts me in the shoes of someone different from me and lets me experience what the world looks like from their perspective, which often looks quite different from the world as I experience it.

Of course I'm not naive enough to think a film this small or off the beaten path would ever be considered for serious awards attention, but I was more moved, energized, and excited by this film than all but a couple of the movies that will be vying for Oscars in a few weeks.

Grade: A+

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

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.