It’s possible – even likely – that I am kind of biased towards Lauren Lee Smith in general. I mean, she’s funny, sweet, smart, talented and fairly gorgeous (if you’re into that breathtaking sort of thing), and since Tim and I now count her as almost a friend, it’s only natural that I would head to her film’s premiere this year as a show of support. I didn’t even need to know what it was about, or anything, in advance. All that mattered was that LLS was starring in a film at TIFF, and sign me up!
As such, most of my focus was on her performance in particular, but that actually didn’t stop me from getting into the film overall, and enjoying it from beginning to end. CinemaNovels introduces us to married couple Grace (Lauren Lee Smith) and Ben (Ben Cotton) who are trying to get pregnant, though we quickly learn that one half of the pair isn’t trying quite as hard as the other. Guess which one?
Her estranged father – a world-famous filmmaker who left Grace and her mother for his leading lady, Sophie (Gabrielle Rose) long ago – has also passed recently, and Grace offers to put together a festival of his films, as a sort of memorial tribute to his career, even though she’s never seen a single one of them before. This delving into her father’s inner world takes Grace on her own journey of self-discovery, and brings her closer to her father in ways she never would previously have thought possible. With her quirky friends (including Clem, wonderfully brought to life by Jennifer Beals) and help from a neighbour, Adam (Kett Turton) who happens to be an expert on the subject of her father’s work, Grace explores her father’s past and comes out with a better sense of her own identity in the process.
From the start of the film, Smith imbues her character with an almost child-like sense of wonder. She moves through the world around her as though not quite a part of it – as a stranger or visitor in her own life. If she looks down and sees only one slipper, then that’s the one she wears. A full pair is not necessary, as she is barely there to begin with. It’s like she sees people doing things in the world around her, and tries to emulate them, so that she can feel more connected, too. It’s not long before we realize that not feeling as though she had her father’s love while growing up still very much affects her. His absence is still very present for her.
Making her way through his films (or at least the parts she manages to stay awake through), Grace begins to take on various personality traits of young Sophie (Catherine Michaud), the star of every film he made. Or rather, Grace begins to bring parts of each film character into her own life, as though she feels that by being more like this woman her father once loved, that she herself could feel worthy of that same love from him in some way now. She has moments of connection with those around her – her husband, Clem, Adam, and even sort of with his roommate, Charlotte (a hilarious turn by Katharine Isabelle) – but they almost seem to be not quite real, as though Grace is just going through the motions and hoping it all comes together for her for real someday. Her inner world seems pretty lonely, and director Terry Miles give us a slew of tight close-ups through which we see only Grace, rather than what she’s looking at or who she’s talking to, thereby denying the audience any sense of connection with other characters in those moments, as well. Grace is very much alone, despite the presence of people around her, and one senses that the loneliness and disconnect she feels now all goes back to her initial sense of abandonment as a child. Smith plays it perfectly, too, treating the audience to the occasional flicker of genuine emotion that, even when she’s smiling, can break your heart with how raw and real it is. In fact, the only times Grace seems to be completely present and happy in a moment are the ones when she is eating and chatting with Clem’s daughter, Julia (Sarah Grey). Her appetite is apparently aroused when she can just be herself without feeling watched or judged, and in all honesty it’s a lot like watching someone discover pie or chicken for the first time ever. She eats with pure zest when she’s relaxed and no one is asking anything of her,and that in itself is pretty hilarious to watch!
CinemaNovels is screening once more at TIFF on Sunday September 15th at noon. Find out more at the links below:
The Mind Reels 