I'm guessing that this website is generally pro Sommersault. Or at least the ten or so first posts that I have read. I will therefore try and be clear and dispassionate in my objections and praises for the film.
It's a lovely simple story in some respects. The opening sequence is very promising (we start with something epic and shattering -- and the cinematography here feels more restrained) but as we move into the mountain sequences there tends to be a lack of restraint in the choices made by the director/DP/art director.
For example, the overly codified red gloves, goggles -- are more reminiscent of an advertisement or a video clip than the subtlety required in rendering the poetry of this story.
There are also some other story elements that feel visually indulgent and unnecessary. For example: the shot of her diary -- when did we see this diary being used / what relevance does this have to the story or character when it feels out of keeping for a girl who is going through some kind of transgressive sexual journey. It feels more kin to a girl who is top of her class at school. We don't need to make her into an artist to care for her.
Also -- the hose scene. Perhaps it's the way they set it up, but to me it felt like an unnecessary visual gimmick -- it should have been motivated by the character.
The performances in general are really excellent.
Although I do believe that the "touch" metaphor is handled with too much force -- IE slowed down close-ups etc take the beauty away from these moments feeling organic to the character.
Politically, I question the over abundance of liminal characters (for example -- it felt terribly PC to have a middle aged gay man turn down this hot young man, as well as the indigenous family with aspergers) but despite these conceits interesting interactions still emerge. I was more curious about the Lynne Curran character -- the relationship with the girl was really unexplored and I think this 'surrogate' mother daughter relationship would have strengthened the intensity of the story and highlighted the problems she has with authority figures in general (and especially 'mother' figures vis a vis her own developing sexuality).
This film is not a classic nor is it completely awful. It is great for a first feature although more interesting as a fish out of water Australian film with extremely high production values -- than as the work of an auteur with something different to say.
It's a lovely simple story in some respects. The opening sequence is very promising (we start with something epic and shattering -- and the cinematography here feels more restrained) but as we move into the mountain sequences there tends to be a lack of restraint in the choices made by the director/DP/art director.
For example, the overly codified red gloves, goggles -- are more reminiscent of an advertisement or a video clip than the subtlety required in rendering the poetry of this story.
There are also some other story elements that feel visually indulgent and unnecessary. For example: the shot of her diary -- when did we see this diary being used / what relevance does this have to the story or character when it feels out of keeping for a girl who is going through some kind of transgressive sexual journey. It feels more kin to a girl who is top of her class at school. We don't need to make her into an artist to care for her.
Also -- the hose scene. Perhaps it's the way they set it up, but to me it felt like an unnecessary visual gimmick -- it should have been motivated by the character.
The performances in general are really excellent.
Although I do believe that the "touch" metaphor is handled with too much force -- IE slowed down close-ups etc take the beauty away from these moments feeling organic to the character.
Politically, I question the over abundance of liminal characters (for example -- it felt terribly PC to have a middle aged gay man turn down this hot young man, as well as the indigenous family with aspergers) but despite these conceits interesting interactions still emerge. I was more curious about the Lynne Curran character -- the relationship with the girl was really unexplored and I think this 'surrogate' mother daughter relationship would have strengthened the intensity of the story and highlighted the problems she has with authority figures in general (and especially 'mother' figures vis a vis her own developing sexuality).
This film is not a classic nor is it completely awful. It is great for a first feature although more interesting as a fish out of water Australian film with extremely high production values -- than as the work of an auteur with something different to say.