18 June 2024

Film Review – In Corpore (2020)

Opening in Melbourne; this anthology exploring contemporary relationships also travels to Berlin, Malta before finishing up in the city that never sleeps, New York following the challenges surrounding four distinct women who believe they can be in control of their own circumstances goes from sensual and intimate, to heartbreaking often in a hurry.

Illuminating talent, Clara Francesca is Julia, a proficient sculptor and carefree Aussie with a bit of a wild past she is prepared to leave behind, or is she?

Attempting to engage her parents in an honesty session. the personal, until now secret news backfires and sarcastic, intensity levels immediately rise.

The unorthodox arc of Julia, circles around to the closing chapter in the Big Apple, where further complications arise and empty connection during what is supposed to be the happiest time of her life.

My pick of the compendium, the Berlin stanza, a couple face insecurities regarding enhanced intimacy in a work situation rolling over to real life devotion.

During the Malta segment, Anna (Naomi Said) faces a burden of decision by her long-term partner to have children, this creates anguish and a line in the sand for a potential future.

Captured on hand held cinematography with a majority of impromptu dialogue by the cast extending on a minimally set script, recalls a naturalistic mumblecore style similar to a few Greta Gerwig classics that come to mind including one of the greats; Frances Ha (2012). Not for everyone’s taste, a majority of the narratives comes across like an off the cuff play.

A passion project for co-writers – directors Ivan Malekin and Sarah Jayne, the latter also responsible for some costume’s choices including a magnificent black top worn by Clara in the pivotal family table scene.

Naomi Said is brilliant; her deep apathy and serious acting intent works effectively within her thought-provoking scenario, whilst duo in Berlin, Kelsey Gillis alongside Sarah Timm, are bound by argumentation of love.

Clara Francesca manages to inflate her protracted scenes of unique self-identity to romantic escapades to moments of clarity in silence. The final scenes play like a cliffhanger with hardly a word spoken.

Not exactly a date movie, but an accomplished film on relations not often explored.

★★ 1/2

Drama | Australia, 2020 | 18 | Dir.Sarah Jayne, Ivan Malekin | Clara Francesca Pagone, Naomi Said, Kelsey Gillis

Follow Shane A.Bassett on Twitter @Movie Analyst

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