That’s a wrap for Sundance 2021! In this video, Taylor Beaumont leads a conversation with Thomas Stoneham-Judge and Taylor Baker, talking about everyone’s experiences with the festival. We recap as much as possible, from the festival platform to award winners to festival favorites to honorable mentions.
SYNOPSIS: With her marriage about to implode, Miriam returns to her hometown to seek solace in the comfort of her younger sister and brother-in-law. But one evening a tiny slip in judgement leads to a catastrophic betrayal, leaving Miriam shocked, reeling, and furious. Believing her sister to be in danger, Miriam decides she must protect her at all costs, but the price of revenge is high and she is not prepared for the toll it takes as she begins to emotionally and psychologically unravel.
“What’s wrong with a little Sammy Harris?”
Miriam (Madeleine Sims-Fewer)
Built on naturalistic landscapes and a swelling score, Violation presents the brutality at the core of it’s story in close-up. Whether stirring batter, deboning a rabbits leg, or watching a spiders legs twitch while it suffocates under a cup. It forces a sense of brooding and suffocation onto the viewer in classic yet unconventional ways.
First time feature film writer/directors Dusty Mancinelli and Madeline Sims-Fewer—who also leads the film—present a somber look at pain and murder. Their collaborative first feature makes sound design it’s fulcrum and while at times it’s score propels us along, just as often and craftily it dips out allowing the stirring of nature to envelop us. Defining a sense of place that intensifies the collage, sometimes spectre like imagery that dances on screen with it.
Madeline Sims-Fewer plays Miriam a woman whose distanced from her family and is having trouble at home with her husband. In lieu of spoiling the narrative, I’ll just say an “event” occurs, prompting Madeline’s “Miriam” to commit a violent murder. The twist here is not so much a conventional twist as a spurring on of the form we’ve already seen employed, now toward active violence. The murder scene is cripplingly human, Miriam’s reaction to her own actions is like a dagger twisted into the gut of the viewer. Her anguish undeniable.
Many have written about the discomfort that they experienced during the film, and I don’t want to completely write that off. But I think that in high caliber pieces of cinema that have similar topics, these feelings of discomfort are more a sign of greatness than any indicative modicum of banality. I can’t quite say I’m thrilled by this film, but I was astounded.