Sundance Film Festival 2022: HAPPENING And GIRL PICTURE

In my last report for the 2022 edition of the Sundance Film Festival, I cover two films that have already been subjected to well deserved accolades. While Audrey Diwan’s Happening won the Golden Lion at Venice last year (and is being presented in Sundance’s Spotlight program, which showcases films that have played at other festivals), Alli Haapasalo’s Girl Picture was just awarded the Audience Award in the World Cinematic Dramatic section. Both films are remarkable in their own way, and are prominent pieces about women, by female directors.

Happening (Audrey Diwan)

Riveting, brutal, and an all-around masterclass in filmmaking, Audrey Diwan’s Happening deserves all the accolades it received following its Golden Lion win at last year’s Venice International Film Festival. The film centres around Anne (Anamaria Vartolomei), a young student who becomes pregnant and must navigate the challenges of getting an abortion in 1960s France. With abortions still being illegal at the time, there’s a stigma in simply asking about the procedure, even if it’s among her closest friends (played by Louise Orry-Diquero and Luàna Bajrami). Based on Annie Ernaux’s autobiography of the same name, the story outlines the harsh implications of an unwanted pregnancy for young women during that time period, and the unfortunate lack of control that women have over their own body, which continues to carry relevance.

It’s hard not to be on the edge of your seat while watching Happening, which really plays out like a thriller of sorts that has the heavyweight of an emotionally charged narrative. Diwan finds a way to emulate the physical toll experienced by Anne through her use of the 4:3 aspect ratio and tightly framed shot compositions. The physical burden of what Anne goes through intensifies the psychological inferences that results in a gripping cinematic experience, that is just hard to watch, yet equally as hard to look away from. There are elements of body horror and psychological torment that come from a grounded reality, which only makes the narrative all the more terrifying.

Vartolomei also delivers one of the most powerful performances I’ve seen in a while, and has a haunting presence to her portrayal of Anne that is befitting of the film’s powerful undertones. Even as Anne begins to break down, both physically and emotionally, Vartolomei maintains a sense of grit that lingers in the midst of her open vulnerability. There’s one scene in particular that left me shaking, and in general, this was a flawless performance that I simply can’t stop thinking about.

Diwan has essentially crafted a relentlessly visceral portrayal of what women experience when they are denied a freedom of choice, which still has an unfortunate relevance in our present times. To say that Happening is a powerful film would really be an understatement. The film embodies the essence of why cinema is such a powerful artistic medium, and it will hopefully continue to garner the attention it rightfully deserves.

Girl Picture (Alli Haapasalo)

A coming-of-age story that views its issues through a lens of thoughtfulness and maturity, Alli Haapasalo’s Girl Picture is a refreshingly enjoyable tale about womanhood. Taking place over 3 different Fridays, the film follows three teenage girls, Mimmi (Aamu Milonoff), Rönkkö (Eleonoora Kauhanen) and Emma (Linnea Leino), as they navigate the rocky turbines of becoming adults in an increasingly complex world. While Emma, a dedicated figure skater, falls in love with Mimmi, Rönkkö seems to be struggling with her ability to form meaningful (and pleasurable) relationships.

The film is essentially a portrait of these three teenagers going about their teenage lives, but unravels their life issues without ever trivializing them. We see the three protagonists’ experience crises in identity, fall in and out of love, and struggle with addressing unexpected conflicts. Their problems all feel very real and urgent, with the solid performances from Milonoff, Kauhanen and Leino providing a welcoming breath of honesty to the narrative. Each character is played with the introspectiveness of an adult, making each of their problems feel full and complex. In doing so, there’s a sense of universality to Girl Picture, even for a male viewer like myself.

The emotional beats in the film also ring loud, as do the more tender and playful sequences. Haapasalo’s choice of music is also spot on, and is only one way in which she creates a tonally astute atmosphere that ebbs and flows through a range of feelings. And in a manner that doesn’t feel too overt at all, using a more portrait-like aspect ratio really helps paint a picturesque narrative that is fitting for a film entitled Girl Picture. This snapshot approach in narration keeps things focused, and for some (myself included), might have felt a tad bit restrictive. But despite keeping things close and tight, the film still manages to explore a lot, and does so in an interesting and noteworthy way.