Author/director Caroline Fioratti’s “Meu Casulo de Drywall (My Drywall Cocoon)” explores the conflicting concepts between safety and security. [SXSW]
What does safety seem like? Is it the absence of risk or the safety from them? Does safety kind from an abundance of security or a dearth of individuality? Can one be safe and subsequently free to share their issues, their fears, their joys, or does it create a cage the place the one true freedom is the reality you retain to your self? In her new dramatic thriller, My Drywall Cocoon (Meu Casulo de Drywall), author/director Caroline Fioratti (Meus 15 Anos) explores these concepts throughout two generations by way of the lens of tragedy. Analyzing the tragedy by leaping between the current and future (or previous and future, relying in your perspective), Fioratti challenges the viewers to think about their very own biases and the best way they obfuscate the reality, a fact which could be the distinction between life and loss of life.
It’s Virgínia’s (Bella Piero) 17th birthday and she or he’s having a kids-only social gathering in a condominium on a high-security property that she and her mom, Patrícia (Maria Luísa Mendonça), reside in. Regardless of issues of leaving her alone for the night time, Patrícia acquiesces, giving Virgínia and the revelers house to simply be youngsters. Besides, the following morning, Virgínia is useless and the one factor left is the unfavorable house left for every a kind of closest to her to discover within the wake of their remoted existence.
The construction of Cocoon is important to its effectiveness. Fairly than telling a straight-forward story, Fioratti opts to start out earlier than the social gathering, introducing Virgínia, Patrícia, and housekeeper Silmara (Lena Roque), earlier than leaping ahead to the following morning. Doing so instantly places the viewers on their heels, pondering that the movie may be considered one of celebration and youthful exuberance, these expectations are shattered by Patrícia’s grief. By structuring the movie this manner, Fioratti permits the viewers’s worst fears to come back into play, weaponizing their ignorance to create rigidity and disquiet. Similar to Patrícia, we spend the movie, as we leap ahead and backward, making an attempt to uncover the thriller and study numerous secrets and techniques saved well-hidden contained in the glittery cage that’s the condominium property. Because of this earlier than we’ve the reality, we presume solutions based mostly on the tidbits supplied through dialog or inference created by interplay. Because of this, all through the movie, the viewers suspects everybody and nobody is guilt-free. Due to how little we all know, Fioratti teases the viewers with moments throughout the social gathering sequences wherein Virgínia flirts with issues or individuals that might kill her. Is it a drug or an armament? Is it on goal or an accident? In a crowd of individuals celebrating her birthday, how may nobody see?
This final query is what drives the thriller and cuts straight to the purpose of the movie. As necessary because the revelation of the reality is, what issues is the willingness to see it. Folks need to *select* to see what’s occurring in entrance of them and, when satisfied that they’re housed in security, why would anybody search for a risk? To make this level, Fioratti performs with actuality proper earlier than us. Upon assembly Virgínia, the viewers can see a bruise and damaged pores and skin upon her left shoulder. At the same time as cracked pores and skin oozes blood after she’s picked at it, nobody mentions a factor, as if it’s not even there. Her boyfriend Nichollas (Michel Joelsas) additionally has a bruise and it’s talked about in passing that everybody is aware of the place it’s from. No huge deal is product of it; it’s merely acknowledged and ignored. If one sees the 2 as parallels, then it is sensible that nobody on the social gathering — not her pals, not Silmara as she goes in regards to the social gathering, not a single visitor — inquirers about why Virgínia’s injured and why it grows price with every scene. Thematically, if one considers that the title of the movie refers back to the place they reside, then the one approach to break-free from a cocoon is to first breakdown one’s self and remodel into one thing else, then the degradation Virgínia appears to incur all through the movie may at all times be seen as her physique forcing her to maneuver on to a special state of being. Nevertheless, contemplating the shortage of debate, lack of examination or openness towards Virgínia, the absence of recognition for Nicollas’s accidents, a stronger learn on Virgínia’s festering wounds, and the absence of acknowledgment, communicate to the best way wherein individuals who lean too onerous on safety lose the power to open themselves up, to attach.
The reality is that we don’t know what sorts of battles persons are combating. We don’t know what’s going by way of individuals’s minds, nor the perceptions that drive them. The majority of Cocoon follows this mode of pondering because the dad and mom make a number of presumptions about their respective kids, all of the whereas the viewers is studying slowly how incorrect these assumptions are. From the minute to the grand, what the viewers learns would shake their dad and mom to their cores, partially due to the presumption of security promised by residing in a facility that has all the things an individual may need and cameras in all places. Besides, if there’re cameras in all places, there’s no potential approach to be one’s genuine self because of the consciousness of commentary. We see Virgínia battle with this when Patrícia considers not leaving, the implication being that the youngsters can’t have a superb time with a mom round. The identical is true of the place they stay. None on the property are capable of be who they’re as each inch of the place is monitored, for good or for unwell. Thus, a divide happens, a schism between somebody’s public self and personal one. Which brings us again to the continually ignored degradation of Virgínia’s outward-self. Because the personal self tries to interrupt free, the general public one violently breaks aside and, in its wake, a void is left behind.
Not all the things about My Drywall Cocoon is executed in addition to supposed. The rating and performances generally combine collectively in a cleaning soap operatic manner, bringing a falseness to a horrific circumstance. To a level, it looks like watching wealthy individuals having their issues (every character has some sort of affluence as a way to stay the place they do), besides, throughout the assemble of her making, Fioratti shifts the decadence of condominium residing right into a self-made jail whereby the inmates have little privateness. So even when issues appear larger than life, the concepts Fioratti explores by no means lose their weight or significance.
We are able to by no means know what somebody is pondering or how they’re feeling. Even after they communicate or transfer, their intentions might stay hidden out of concern, disgrace, pleasure, or anger. A lot of what happens inside My Drywall Cocoon is realizing how little we truly communicate to one another in our fervor to be seen, to be liked, or accepted. Even worse, that the trials we regularly face are created by our personal hand, crafted by our unwillingness to be ourselves, free from the constraints of what we’re instructed to be. To that finish, even the thought of shifting one’s household into a spot of most safety, of plentiful meals and water, of a life with out need, creates a facsimile of security because it actually is merely one other phantasm to be projected onto ourselves: a alternative for connection, an alternative choice to safety, a drywall cocoon.
Screening throughout SXSW 2023.
For extra data, head to the official SXSW My Drywall Cocoon webpage.
Last Rating: 3.5 out of 5.