I Believe in Unicorns

All teenage girls need to see this I Believe in Unicorns. Or for that matter, anyone who ever was a teenage girl needs to. Leah Meyerhoff somehow manages to capture the human condition so perfectly in this film. It shows the ugly little details of life and relationships that nobody bothers to do in most movies and leaves you with a gut wrenching feeling (but in a good way). That's what really sets it apart.

Natalia Dyer gives an extremely brave performance as Davina, a 16 year old girl juggling school, taking care of her mother with MS, and a new relationship with Sterling (Peter Vack), an older "bad boy". Sterling starts out as her "unicorn", but that starts to change as they become closer.

It's also beautifully shot, some of it on 16mm film which gives it a vintage, timeless feel. There is no use of modern technology throughout the entire film, which leaves you guessing whether it took place in the present day or some magic era that never existed. The stop motion sequences make it whimsical and fantastical.

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 Believe in Unicorns, is a nice starting point for director Leah Meyerhoff (it's her first feature film). It has a great leading performance by Natalia Dyer, interesting usage of stop motion animation representing the memories and imagination of the movie's leading girl and an interesting twist on the generally familiar myth of the unicorn. On the other hand, it's not as original as its creator believe, and it has a big problem with the pacing and a smaller problem of the potentially loaded relationship between Davina and her mother, to which the director keeps implying but never really explores, while she does explore the relationship between the young lovers whose direction is figured out long before the movie get's there. When an 80 minutes movie feels too long, it means the director has a problem. Still, for her feature film debut Leah's command of the media is impressive, there's every likelihood she'll get the pace better next time.

Experience, indeed, defies representation or articulate expression. Just as a photograph only captures one shot of a smooth manifold aggregate of lived phenomena, so language can only restrictedly encapsulate vibrancy. But one'd hope that a sequence of such photographs enables one to peer into that share of moments, brightening up memory and trajectories of thoughts, absorbing anew the cultivating spectrum of lived emotions. Breathe.

The opening credits alone immediately capture the spirit of this pure coming-of-age masterpiece. Ignoring the excusable whiny music, it alone was already so great and lingering that one'd want to stop and muse. Submergence into water necessitates the synergy of the liquid water's flows with the likewise fluid and variedly current half-obscured memories of growth intertwined with decay. Stopping for an instance, retreating below the surface, divine Davina feels the impact of the past. It's her birthday, but she's not yet ready to face it. Brooding on the past can perhaps help, before lurching further into uncertain future terrains, that will eventually also continually expand the mind's horizons.

Film itself captures the process. An acoustic-visual artificial succession of events, melded with and moulded by memory, fantasy, by movements of objects that defy physical laws. Stop-motion and time-lapse show the productive capabilities of the unconscious factory, and the fragmentary apprehension of spacetime. Shades of lights correspond to different intensities. One traverses heterogenous planes, exploring natural strata, and sensing the world. The hair billows through the wind, the skateboard grinds across the concrete, the clouds, the grass, crops, trees, endless telephone wires, ... they all reverberate, grafted from their respective denotations to dance within the partial subjective perspectives, poetic experimentation and flows. Stream of consciousness.

Divine Davina is in a state of becoming. The creation of memories contrasts with the stagnancy and deterioration of her mother. Touching her mother instills stifling anxieties of death and decomposition, the limit of possibilities - "la forme et l'essence divine / De mes amours décomposés". She still has a life ahead, and hence must venture into those fairy tales and badlands.

Becoming the nomadic voyager, wandering about. Dreaming and playing. Feeling the full spectrum of emotions. The unicorn and the dragon. Multivariate and recombining flinches of desire, sadness, happiness, loneliness, abandonment, comfort, disappointment, surprise, danger, warmth, coldness, excitement, pain, pleasure, ... transitions between various intensive states and interactions with a significant other, who's active and feeling too, differently, but reciprocally, within a changeable complex relationship.

Finally one has to digest the trip, make time for thought. The past becomes another series of photographs, pages of diaries, details, conclusions, and material mementos. And then one continues on, indefinitely.

"There's so much I want to say. But I don't know where to start."

This is an honest, well-composed film with a unique style.

I Believe in Unicorns takes you in to the mind of a teenager as she struggles with what life has given with her. It shows her inner turmoil and hopes using fantastic imagery. And even though it is full of imagination, it presents a realistic picture of this young lady's life. It does not offer some "great solution" to life's problems. Instead,it shows the pain of growing up and facing the world for what it is - often disappointing and not all we wish it could be.

Though it is definitely geared towards a female audience, if you understand that film is an art form and not an amusement park ride - whether you are male or female - you will enjoy this coming of age picture. Try it out. It's worth it.