CANNES 2021: Small Body
CANNES 2021Writer-director Laura Samani's Small Body is a phenomenal feature installed in a slow and brooding character study with two seismically stoic lead performances from Celeste Cescutti and Ondina Quadri.
Samani's feature is an intimate drama that broods multiple layers with stoic and existential thematics. It has clear surface level weight that carries significant moral thematic weight. Cescutti's Agata bears a stillborn baby, and in her religious coastal village, it is propelled to bring her child back to life in a place across the mountains in order to save said child from purgatory.
As heavy and incredibly dark as that is, this is simplistic surface-level depth. As is, Small Body is a fascinating character study and an immersive feature. But it is what broods underneath that propels this to an even greater elevated feature. It might come to some surprise with what has been discussed that Samani's feature goes to even greater darker areas of pain and tragedy. Moments involved here are so raw and harrowing that it can often be tough to situate oneself through the proceedings.
Nevertheless, this is a fabulous and poignant tale of willpower and morality. Samani never once uses such dark moments for shock value but for justified moments of such weight that is carried by Cescutti's character. Cescutti, for one, is utterly intoxicating in her performance. An often dark and emotionally destructive depth is brilliantly produced and provided her in a showcase of tremendous ability.
This is a journey of pain and inner suffering, and Samani, along with co-writers Elisa Dondi and Marco Borromei, bring precedent and nuance to such themes and layers. Not only in terms of the screenplay and performance but in the understanding of camera and filmmaking.
Director Laura Samani, cinematographer Mitja Ličen, and Chiara Dainese allow and perfectly implement spacing and breath in terms of the emotional fluidity of the feature. Moments of tenderness are allowed a significant amount of time and space to brood. These moments are flooring for the film to truly emotionally captivate its audience – not that the film necessarily needs to fully indulge in such moments.
Nevertheless, these moments allow Celeste Cescutti and Ondina Quadri to fully flesh out their respective characters and tender emotional weight with striking prowess. The film clearly incorporates a significant amount of screentime towards Cescutti's character, and while that undoubtedly is the main lead, it is that Ondina Quadri's understated and consciously stoic role that is of great significance. It is best for the audience to experience such without an explanation, but it should be pointed out the strong social and cultural significance such an aspect of this film discusses. In fact, the film should be hailed for such topics.
There is also the cinematography from Ličen, which needs to be spoken about singularly. To say it is incredible would be an understatement. It looks outrageously pretty throughout and, at times – specifically its third act – beautiful to behold. The sheer scale of the setting captured looks stunning but, more importantly, it consistently crafts an oxymoronic and immersive relationship between setting and narrative weight. The two elements are intertwined in perfect harmony and create a poignant, tender atmosphere.
Laura Samani's Small Body is a fantastic piece of cinema. A brooding and poignant portrayal of womanhood and morality with sensational cinematography. Easily becoming one of the best produced and performed features of Cannes 2021.
