A Dança dos Pássaros

I grew up in a Christian home so I can relate to these characters here. Feelings wandering, conflicting when it comes to what's right and wrong. I have no doubts there will be Christians seeking everyone to avoid this near masterpiece of film. It struck all the right cords. It's a very impressive debut for this new director. I wish more first time filmmakers made films this great but they come few and far between. I can see this one becoming an awards contender perhaps if it doesn't stir up too much controversy but I doubt that will happen. This one is likely to remain a hidden gem but it deserves a watch at least once especially for the incredible performances all around, the music, the atmosphere and cinematography are all on point here. Not sure entirely what kept this from being a perfect film but it almost reaches that. All in all though this is definitely one of the years best so far and is worth seeking out for film lovers and those who struggle with beliefs in religion.

What's required to attain acceptance from others? That's a tricky question, especially for those who are going through the coming of age process. It can be even more confounding for those who are part of a community that demands rigid conformity on an array of fronts. So it is for 17-year-old Jem Starling (Eliza Scanlen), a questioning young woman from a small Kentucky fundamentalist community. She wants to fit in, but she also endeavors to know herself, a quest that carries with it some puzzling yet innate contradictions, many of which are brought front and center when she begins to develop feelings for her married youth pastor (Lewis Pullman), a connection based on emotions that turn out to be mutual. But what is Jem to do - follow her heart or squelch the burgeoning passions surfacing within her, both romantically and in her other secular interests? That's the story that plays out as she attempts to get in touch with her inner being. However, is she seeking to let her true self emerge, or is she succumbing to the wicked manipulations of Satan, as her family and fellow parishioners try to convince her? Independent Spirit Award-nominated writer-director Laurel Parmet's debut feature deftly handles these themes, even if they seem a little predictable, familiar and stretched out at times. The picture's surprisingly inconsistent cinematography sometimes hampers the flow of the narrative, too, with some scenes that are beautifully shot and others that are needlessly and almost indecipherably dark (atmosphere is one thing, but the patent mishandling of this element is something else entirely). Nevertheless, these shortcomings are aptly covered by the fine performances of the film's stellar cast, especially Scanlan, Pullman, and Jimmi Simpson and Wrenn Schmidt as Jem's dysfunctional parents. "The Starling Girl" may not be groundbreakingly original, but it reminds us of the importance of being ourselves, no matter what that might entail - and the cost that can come from failing to follow our hearts.

I always suspect in a movie about conservative Christians they are going to be portrayed as small-minded and hypocritical, and that their faith is a lie. And my expectations were not entirely dashed in this film. But there's enough sensitivity and nuance here that I felt like there were sufficient characters, including the lead, who were honestly wrestling with their faith, and the temptations of the secular world. The plot, if somewhat predictable, kept this viewer interested,. The lead was a good combination of the strong, young adult, and the childhood she was just leaving. I certainly recommend watching it at the free Kanopy service.

This coming-of-age drama follows Jem Starling as she becomes an adult--or at least starts to become an adult. It explores the conflict between Jem's growing awareness of her body and its needs and the beliefs of the fundamentalist church that plays a large part in her life and her family's life. Her family is also a source of conflict: before his conversion, her father had been a musician with a steady gig at a bar in Memphis, and the temptations of sex, drugs, and rock 'n' roll return after the suicide of one of his former band members. What music is for her father, dance is for Jem and she contrives to lead the church's dance troupe by charming Owen, the church's youth pastor who has just returned from Puerto Rico. Eventually, Owen and Jem begin an affair that is transgressive in almost every possible way: Owen is married, he is the brother of Ben, who is officially courting Jem, and both Owen and Ben are the sons of the church's pastor. The ending is pleasantly ambiguous: we see that Jem follows her powerful need to know about the world and what her place in it ought to be, but not exactly where that takes her.

The cast is very good and Eliza Scanlen, who is in almost every scene, makes a good Jem. Wrenn Schmidt is also excellent as Heidi, Jem's mother who is trying to hold a large family together while her husband and her eldest daughter lose their minds. For many viewers, a fundamentalist church in Kentucky might seem an 'exotic' milieu, but the film doesn't treat its characters like the subjects of an ethnographic expedition. The first half of the film sets the scene at a leisurely pace, but tensions build in the second half as we wonder when the lovers will be discovered and what the consequences will be.

From earlier this year comes this account of a fundamentalist girl's, played by Little Women's Eliza Scanlen, struggle to maintain her faith. Opening up on a dance performance in front of their congregation, Scanlen's immediately reprimanded for having her bra showing through her dance top. We then go into her family life where her brethren are many & her parents, For All Mankind Wren Schmidt & Jimmi Simpson, rule the roost w/iron fists. Into this dynamic comes a new visitor in the form of the pastor's, Homicide's Kyle Secor, son, Lewis Pullman, which raises Scanlen's ardor even though he's already married & his wife is pregnant. Simpson, who used to be in a 'regular' band, falls off the wagon due to his own pressures which when the reveal comes about Pullman & Scanlen's clutch prompts the parents to force her to quit the dance troupe which puts the couple in panic mode (Pullman declares his separation from his wife) & running off happily into the sunset or will they? Writer/director Laurel Parmet captures a potent tale of the flyover states where maybe the standard trajectory of one's community may not be for all w/Scanlen, who continues to impress in her performances (check her out in the HBO limited series Sharp Objects), who carries the weight of the narrative on her ample shoulders abetted by strong support from the other players.