Somersault (2004)

I think this film talks about many things without saying that much.The elegance and equilibrium between sound and silence makes it sweet and realistic, with a touch of poetry in the story telling.The story, through the character of a young girl who is learning about life itself, talks about human relationships and how difficult we human beings get to connect with other people.The way is told makes it so realistic that is unfair to compete with any other story that can look similar, because it would win.Important to mention the very fine acting, which could not be other way since the whole film has been managed with delicacy and precision.Smart and beautiful. Not a love story, not another stupid empty drama story. Not a great film, but a film you wouldn't regret, because there's no mediocrity in it.

There is a moment in Cate Shortland's "Somersault" where Joe (Sam Worthington), a surly and emotionally closed-off young man confused over the feelings he has for his kind-of girlfriend Heidi (Abbie Cornish), shows up at the home of an openly gay acquaintance of his mother's and—after downing several shots and spilling his guts to the older man—follows him into the hallway and makes an awkward pass at him by planting a drunken kiss on him. It's a surprising twist in both Joe's development as a character and the movie itself, but it's just one of several similarly unexpected--and unexplained--moments that define Shortland's oddly compelling drama about sexual coming-of-age. Joe is not the main character, nor does the film ever revisit his attempt at same-sex experimentation, and it's that vague attention to detail that is the most frustrating aspect of the movie. The story actually belongs to Heidi, an evidently emotionally troubled teenager with no concept of propriety who, for no apparent reason, decides to make a pass at her mother's hunky boyfriend. When mom comes home and catches the two kissing, she freaks, and Heidi runs away to a neighboring town. There, she shacks up in the small flat of an empathetic motel owner, gets a job at the local BP service station, and has sex with a string of guys. It is Joe, however, that most captivates her, and their awkward and strained attempts at forging a relationship are some of the most authentic captured on celluloid. Both of them are plagued by troubles that are never explored (apparently, Heidi once tried to commit suicide, as is evidenced by the scars on her wrists), but as they begin to open up to each other, the movie becomes more fascinating and oddly romantic. Shortland's direction is as languid as her ambling script (a bit more back story on the characters would have made them more three- dimensional), but her style is effective nonetheless, providing a showcase for the talents of both Worthington and Cornish, two young Aussie up-and-comers who appear to have big futures ahead of them. Grade: B.--Originally published in IN Los Angeles Magazine.

A beautifully filmed story, the two film comparisons that come to mind are The Virgin Suicides and Morvern Callar. All of these films feature young girls, coping with circumstances that throw them into a spiral - an internal spiral - filmed with grace, attention to detail and a good ear for the soundtrack. There are difficult moments here, where I found myself saying 'Don't do it, don't do it', but she does because inexperience and lack of confidence make for poor choices. As soon as you can place yourself in her shoes, you will find this film moving, and very clearly (and poetically) observed. I recommend this film very highly, both for its clean and original voice - and very Australian voice - and the sympathy we feel for its very real lead characters.

Beyond the aesthetically beautiful nature of this movie lies a story that is compelling in its realistic portrayal of young love and loneliness. The story moves along slowly, but I felt that this only added to the credibility of the plot, as most life situations aren't jam-packed with intense drama. The characters are flawed and complex - the main character Heidi is at once naive and youthful, and grown-up and savvy. The story details are slowly inserted, sometimes just through imagery - leaving the viewer to assume much of the back story - the movie does not feel contrived because you aren't being told every small detail and how the director wants you to judge each character. I would highly recommend this movie to anyone that enjoys artistic camera angles, realistic characters and situations, and doesn't mind slowing down to enjoy a good story.