My review of the short film The Energy Within is over at Flickering Myth. Starring Paralympian Stefanie Reid in her debut film performance, the 17min film is an inspiring take on focusing mind and body through sporting endeavour.
Based on her own real-life experiences, The Energy Within stars Paralympian Stefanie Reid in her debut film performance.
Across its 17 minute duration, the short tracks the progress of Julie Bennett (Reid) as she attempts to get back into racing competition despite losing a leg in an accident. After finding the courage to approach respected coach George Hart (Daniel Adegboyega), Julie asks to join his team of professional runners. It’s a difficult thing for her to ask, as she has never raced since her accident.
Afraid of what he and her fellow runners (Marie-Helene Boyd and Suzy Bastone) will think of her if she reveals her disability, at first Reid tries to hide her situation by running on a weaker prosthetic limb. The startling realisation that she has to come to terms with her disability in order to become stronger is a powerful message, and it’s dealt with brilliantly in this short film.
The story also sees Reid encountering her next door neighbour (Aasiya Shah), a teenager struggling with her violin practise. An exasperated Reid shares some choice words with the brash youth, guiding her onto trying harder and putting her mind to the job at hand. In her own words, ” The only one who actually cares is you. So if you think you suck, then, yeah, you probably suck…”
It seems to do the trick, as after a brief scene switch the next we hear is the girl trying the notes on the violin again. It’s a well done part of the film, and isn’t over done. It just goes to show that all of us have challenges to over come and how we address them forms part of who we are.
As a whole, the film rapidly showcases the power of sport in focusing the mind and the body. Reid does a great job at bringing her own personal experience of competing with a disability to the screen. She is a strong lead in a story that inspires and informs in equal measure.
THE ENERGY WITHIN will premiere online in March, during the 2018 Winter Paralympics in South Korea.
Review of women’s liberation in Switzerland film The Divine Order over at Flickering Myth and below.
An informative and entertaining drama, The Divine Order tells a serious story in easily watchable fashion, focusing on strong performances from the two leads (Marie Leuenberger, Maximilian Simonischek) as the couple at the heart of the film.
Showing how Switzerland’s female population won the right to vote in 1971, the movie does not barrage the audience with political theory or facts and figures. It simply shows, in a surprisingly light but resolutely inspirational tone, how and why the country’s women did not enjoy political suffrage earlier and what needed to happen in order to gain it.
Nora (Leuenberger) has a peaceful and secure existence in her small Swiss village. Her days are spent looking after her two sons, unimaginative husband (Simonischek) and cantankerous father-in-law. As the contrasting documentary style news images that play in the opening credits remind us, the year is 1971 and major political change is happening throughout the world. And yet, here, in Switzerland the contrast is as clear as the snow peaked mountains in the distance.
The story plays around Nora’s gradual empowerment as she realises that things can’t continue as they always have done. She wants to work, and her husband flat out refuses. He is not even entirely sure why himself; it is just not the done thing in those parts. There are many moments in the film just like this, where received wisdom and old-fashioned ‘tradition’ become embroiled in plain misogyny shock with a potent force. The film is not a difficult watch, it’s true, but that shouldn’t be seen as a criticism. In fact, it manages to get across the central ideas clearly, which when you’re talking about more than half of the population’s right to vote can only be welcomed.
There is humour within the film as well. A travelling workshop taught by a Swedish hippie (TV series The Bridge’s Sofia Helin) shows the local women the philosophy of yoni power and the importance of loving their vaginas. The almost slapstick comedy of this and other scenes broadens the film’s appeal somewhat, and brings the important points it has to make about political identity and power home in clarity.
There are also moments of real violence and infuriating diatribe from the local men, as well as the female head of the anti-women’s right to vote society. These real dangers show exactly why women in remote areas found it difficult to make their voices heard on issues such as this.
Through self-education and determination Nora manages to make a difference to the village, and to the other women, because she is someone. She is herself, and not only a wife and a mother. The basic points are what needed spelling back in the 1970’s, and they retain their urgency today. Petra Volpe’s film does that in an audience pleasing way, and manages to be both insightful and motivating.