My last two films of Sundance 2023 are both alluring works of art, both from the World Cinema Dramatic Competition. With Slow we have a rumination about modern dating and Sorcery, a supernatural-tinged revenge tale. I was enamored with both. They each settle on a psychological seed, even if their development is varied: the magic of love and the magic of faith.
While I’m saddened that my trip is over and I wish I could see all of the films at Sundance, it was a wonderful way to close. I hope you’ve had fun reading and filling up your watchlists!
Slow (Marija Kavtaradze)
Relationships are tough work and no one dynamic is the same. Slow peels back a layer of modern dating that is not often seen in film, and it is done so in a way that feels natural and poignant. There are times when it’s tender and uplifting but also frustrating. Director Marija Kavtaradze gives us a beautiful take that is brightened by our lovable leads and their unique chemistry.
Elena (Greta Grineviciute) is a contemporary dancer, living her life freely bouncing from relationships and sexual encounters without a serious commitment. When she meets interpreter Dovyda (Kęstutis Cicėnas), someone who joins to interpret for a hearing-impaired group of teenagers she’s teaching, there’s an instant spark.
When he discloses that he is asexual, she is unsure how to respond. When they meet back up at the performance she lets her guard down and the two start a relationship. It’s a continual exercise in understanding and communication, and it isn’t always easy, finding their own form of intimacy. There isn’t a roadmap for connection, but something between them is coalescing. It’s being born and reformed, adapted and strengthened, and seeing that on screen is admirable.
That’s not to say that the film doesn’t have its lulls or moments of thoughtful consideration that may feel slow, don’t mind the pun, but are inevitably cognitive of purpose. We are learners, after all, and very few know exactly what they want or how to decipher it. Their two professions speak to something deeper than careers, as a metaphor for relationships, and for this one in particular.
There’s a language in the physicality between these two that is far removed from common intimate relationships displayed on the screen. The bodies connect with understanding and emotion. The film is intercut often with sections of her dances, whether practice or performance, and in many ways, I felt like I was watching their own rhythm. That and some of the scenes in sign language are done in a lovely fashion. The humor feels gentle and real, and the film avoids cliches and instead paves new roads.
There is something about being invited into a relationship that feels strange but wondrous. It’s like a test of your own conceptions and misconceptions. We are all here for connection, but what that looks like is really a personal thing. If you can share that with another, it’s a powerful feat.
A film that emphasizes on the vulnerability of its characters from a deft vision by Marija Kavtaradze, Slow is a subtle but impactful film.
Sorcery (Christopher Murray)
In the 19th century, A young teenage Huilliche girl, Rosa Raín (Valentina Véliz Caileo), and her father serve a German colonist family. Their quiet life is torn apart when she sees him killed for a crime he didn’t commit. From there she’s forced to leave and find her own way with a group of accused witches, practicing indigenous magic led by Mateo (Daniel Antivilo). Rosa begins to practice herself with a very specific goal in mind: vengeance.
Christopher Murray’s Sorcery isn’t necessarily slated as a horror but it has underscores of grim fable-like tendencies. This spell-binding tale takes on a child’s journey with a fantastic performance by Valentina Véliz Caileo. Her Rosa isn’t spurred with fury, but instead an internal fire that builds in resentment as she witnesses more atrocities and injustices.
“You could be a knife.”
The mystery isn’t entirely evocative, but it doesn’t completely lose its inertia. It’s part fiction and part fable based on real events that occurred during the time. This makes it that much more effective. There are times when the film felt a bit caught in its own web, unsure of what to part with and what to pursue. I found it brooding in its perception, but when dealing with a story such as this, one of pain and revenge, isn’t it meant to be so?
This is a brutal landscape and story, taking place on the island of Chiloé it comes with a rich and complex history. Atmospheric, ethereal at times but also bone-chillingly cold, Sorcery takes up the mantle of a film predisposed to horror, especially when considering its interests in colonialism and religion that manages to be a compelling character study. It is beautifully shot as the camera consumes the furrowed land. There’s a sense of mystery that pools at the center of Sorcery and though it never fully hits its full potential. I found myself waiting for something that didn’t come. While mesmerized by the gorgeous cinematography and strong female lead, I can’t help but wonder if it could have conjured a little something more up.
That concludes my Sundance 2023 coverage. As always, thanks for reading!
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