It wouldn’t be a stretch to say that this script (from Liang and co-writer Max Landis) is essentially a collection of storytelling gears, and it also wouldn’t be a stretch to point out how much this script does not conceal its awkward shape. From the beginning when Moretz is trapped in the turret, having to fend off objectification and fighting to be taken seriously, the script is mostly concerned with making sure you can relate to her experience, and that you care about the mysteries that are and are not methodically revealed. So if it’s not the sexism that gets you, it’s the impending threat of Japanese enemy fighter planes, or the snarling creatures that look like skinless, winged cats ripping up the plane as if it were a nice couch. These three obstacles that Garrett faces don’t entirely fit together, but the film is more amusing if you just accept them all.
Pieces of a Woman review – a home birth ends in tragedy
Vanessa Kirby excels in devastating exploration of grief and loss
by Markie Robson-ScottFriday, 08 January 2021https://www.facebook.com/plugins/like.php?href&send=false&layout=button_count&width=450&show_faces=false&action=like&colorscheme=light&font&height=21https://apis.google.com/u/0/se/0/_/+1/fastbutton?usegapi=1&size=small&hl=en-GB&origin=https%3A%2F%2Fwww.theartsdesk.com&url=https%3A%2F%2Ftheartsdesk.com%2Ffilm%2Fpieces-woman-review-home-birth-ends-tragedy&gsrc=3p&ic=1&jsh=m%3B%2F_%2Fscs%2Fapps-static%2F_%2Fjs%2Fk%3Doz.gapi.en_GB.tmPnhifxyTQ.O%2Fam%3DAQ%2Fd%3D1%2Frs%3DAGLTcCNwoIQ3FEHTItd0ffFEpbwP-CV1_g%2Fm%3D__features__#_methods=onPlusOne%2C_ready%2C_close%2C_open%2C_resizeMe%2C_renderstart%2Concircled%2Cdrefresh%2Cerefresh&id=I0_1627859056017&_gfid=I0_1627859056017&parent=https%3A%2F%2Fwww.theartsdesk.com&pfname=&rpctoken=14217321ShareFacebookTwitterEmail
Before the birth: Sean (Shia LaBeouf) and Martha (Vanessa Kirby)Benjamin Loeb/Netflix
This is not a film to watch if you’re pregnant. One of the first scenes, a 24-minute continuous take of a home birth that ends in tragedy, is extraordinarily powerful and painful to watch – almost unbearable sometimes – and Vanessa Kirby as Martha, groaning and growling her way through a very realistic labour, is brilliant and unforgettable.
Director Kornél Mundruczó and his wife, writer Kata Wéber (White God, Jupiter’s Moon), wanted to share something of their own similar experience of loss and originally wrote a version for the stage – it premiered in Poland in 2018. But Wéber wanted to expand it into something more wide-reaching. Although not a complete success, it’s moving and shows how grief is perceived and co-opted by others.
Martha and Sean (an excellent Shia LaBeouf) are a Boston couple: he’s a construction worker on the bridges, has six years of sobriety under his belt and was in a Seattle grunge band back in the day. She’s posher, with an office job and a formidable Holocaust-survivor mother, Elizabeth (a marvellous Ellen Burstyn), who fiercely disapproves of Sean. In an opening scene, just after Martha leaves the office to start maternity leave, Elizabeth tries to “minimise” him, as he puts it, by buying them a car that, according to him, he could have bought himself.
Their relationship, though close, looks as if it might not withstand many knocks. During the labour, beardie Sean tries his best in a lukewarm way, getting water and rubbing Martha’s back when asked, and trying to distract her with some of his trademark feeble jokes: “Where does broccoli go to get a drink? To the salad bar.”
At first things seem to be ticking over. “We’re getting a little bit of a rhythm going,” says Sean, irritatingly, on the phone to Barbara, their appointed midwife. But she’s busy with another labour and a replacement, Eva (Molly Parker; House of Cards; pictured above), who they’ve met but don’t know well, takes over. Laughing inanely, she doesn’t inspire confidence and you want to shake the increasingly panicked smile off her face and yell, “Get the woman to a hospital.”
This birth scene is so visceral, so traumatising, that the second half of the film (executive produced by Martin Scorsese) is doomed in some ways to limp along in comparison, with some unsatisfactory loose ends in the narrative. But Kirby’s performance remains very moving, from her furious dignity at her first day back at work where her colleagues stare at her dumbly, to the misery of leaking breasts as she locks eyes with a child in a department store, and her lonely decision over the burial of her baby. The bureaucracy involved echoes the mundane first scene of her signing papers for the car.
Her mother, sister (Iliza Shlesinger) and Sean are bent on suing the midwife, who’s facing five years in prison, and Sarah Snook (Shiv in Succession) plays, to type, a hard-nosed lawyer, a cousin, who takes on the case: “You could win millions.” Martha feels alone and isolated and she and Sean can’t find common ground. He attempts, violently, to have sex with her (unfortunately you can’t help thinking about FKA twigs’s current lawsuit against LaBeouf). As devastated as Martha, he turns back to booze and cocaine. Their relationship disintegrates as does the apartment, with its dying spider plants, a sink piled up with dishes, a freezer empty apart from frozen vegetables that Martha uses to soothe her aching breasts.
A family lunch underscores the distance between them all, though Elizabeth’s virtuoso speech to Martha about her own mother giving birth to her when hiding from the Nazis is a catalyst for change, albeit laced with cruelty. When Martha accuses her mother of only thinking about her own needs, Elizabeth retorts, “If you’d done it my way, you’d be holding your baby in your arms now.”
Elizabeth is so keen to get rid of Sean, who knows she thinks he’s boorish – “Now there’s a Scrabble word” – that she gives him a cheque. “Never come back,” she warns. This seems unlikely as they were, briefly, united in their enthusiasm over the court case. Martha even accuses them of teaming up against her. It’s a portrait, although not a very consistent one, of a family in crisis that devours its members, and it turns rather too fast into something more sentimental at the end.
The credits, intriguingly, thank Susie Orbach as well as the midwifery team at the Whittington Hospital, where Kirby shadowed an obstetrician and midwives for days – and the authenticity of her remarkable performance certainly shines through.
he script is smart enough to avoid the usual feelgood cliches and sentimental flourishes and Lloyd’s cast of plain-speaking British and Irish actors ensures that everybody remains firmly in touch with the gritty realities.
Going in blind, I quite enjoyed this movie. Sure, it has it’s shortcomings but no way near the hate it’s getting here. I don’t think this movie was intended for Turkish audiences, who are very vanilla most of the time when it comes to any form of art. I don’t know what this movie claimed to be during the advertising period but if you watch it expecting a “normie” comedy, you’ll be disappointed. That exact reason is why I enjoyed it. It can be called dark comedy-ish I guess, labels don’t matter to me. The art direction was quite beautiful and the acting was decent, as expected from a cast of veteran actors. Comparing this to the dumpster fire that was Leyla Everlasting is a blasphemy.