Voltiges

Lisa Aschan is a director rookie and this is really promising.

Two young girls are training voltige, the kind of competition there you make acrobatic moves on a horse's back. They have a relation, complete with hot feelings and jealousy, but without sex. It's a power struggle, but most of all it's a power struggle within one of the girls. Does she want control or life? You can't say.

Great feeling for what the camera can express here. Great cuts, great rhythm. The story is however not so uncommon as we are expected to believe. The quality lies in what the lens registrates. And there will hopefully be much more to come from this director.

More powerfully tense than many thrillers full of action and blood, this finds the terror in the small gestures of growing up, and the enormous implications behind them.

In the main story, adolescent Emma befriends cool girl Cassandra as they train to be part of a team that does gymnastics on horseback. Both friends and rivals, director Aschan manages to load almost every scene between the two with incredible unease. It seems as if at any moment they are either going to tear each others clothes off and make love, or kill each other, or kill someone else -- any and all combinations seem possible as they test their limits on the ragged edge of adulthood.

At the same time, Emma's 7 year old sister Sara is pushed by the world around her to become aware of her body with alternating pride, curiosity and shame, and her nascent sexuality leads to some wildly uncomfortable scenes with the adult men in her family. This never crossed the line into exploitation, but it effectively made me want to jump out of my skin, while making me ponder the deeper thematic and psychological/social issues.

One thing bothered me; the very end of the film seemed to over-simplify the mysterious complexity of much that had preceded it, reducing the story to something more pedestrian, and taking some of the considerable wind out of the film's sails. But this is still one of the better films about the terrors of youthful sexuality I've seen in a long while.

Ignore the movie poster with the lead actress holding a rifle with menace in her eyes. Nothing happens even close to the implied violence. Two teen girls compete for some obscure sport riding horses while doing gymnastics. They come close to a lesbian relationship but it never happens. A seven year old girl acts inappropriately for her age with scenes that made me nauseous. The film goes nowhere and I barely made it through this meaningless drama.

Lisa Aschen's film 'She Monkeys' is a tenderly observed account of two teenagers (and one younger girl) struggling with the pains of growing up, trying to be selected for a team of equestrian gymnasts. It's subtle, and leaves the inner workings of its protagonists' minds to the viewer's own understanding. The low budget is apparent in the relative absence, given the subject matter, of horses; but it doesn't mean that there isn't some skill in the acting, directing and writing. However, the plot doesn't really go anywhere, and the whole drama feels more like the prelude to another, more forceful story that doesn't actually happen.

Watching this film I was reminded of a hard-to-define need for ethical treatment of characters and issues in a film. By that I don't mean films can't describe ethically challenging or ambivalent situations, they should. But there should be a sense of commitment to the characters and the issues. This film was lacking in that. As a result, it felt pointless and disturbing.

The plot centers around two teenage girls who are competing in the sport that consists of doing gymnastics on top of a galloping horse. One, two, three girls on a single horse running in circles to the sound of a whiplash. I would like to see this sport, which completely seems to forget the horse is sentient, forgotten. The film could have used it as a metaphor, but I don't think it did. I think the horse was ignored in the meta level as well. This is the kind of lack of commitment I mean.

Harrowing things happen to the teenage girls and a seven-year-old little sister. The viewer is presented with hardly any tools to understand them or care for them. Thus, it feels they are left alone. There is one illuminating scene though: Cassandra asks Emma what she wants (a question misplaced, as it seems to be Cassandra at that moment who is acting out of unclear desires) and Emma replies "I want to be like I was before".

As far as I can tell, there is nothing wrong with the acting or the technical work of the crew.