Herself (2020)
Phyllida Lloyd has long attempted to explore various expressions of women both in fiction and real-life, with her newest feature Herself tackling the subject of motherhood in the face of severe trauma. Sandra (Clare Dunne) tries to be the best mother she can to her two daughters but faces consistent struggles. From the simple struggles of a capitalist society that both expects her to be able to take care of herself without giving her the proper support which would allow her to do such to lasting scars left within her from her abusive ex-husband, Herself is simultaneously a haunting look at the lowest points an individual can face and celebration of love and the power it holds no matter if it comes from children or a community around oneself.
This struggle at the center of the film between damage and healing provides the film its haunting impact. Continually, Sandra is on the ropes fighting for even the most basic moments of happiness. From pressure by the courts who always seem on the verge of granting her abusive ex-husband custody of the children to her own personal trauma from her time with him and the pressure she has to protect her children from the pain she experienced, Sandra's life is often a living hell and the performance from Clare Dunne carries a skilled conviction that brings this drama to life. Dunne breathes a real soul into this character that, though scared, is not defined by her pain. She is well rounded in identity and transcends simply feeling like a solid performance. She transforms into this complex and layered character in a near masterful way.
The filmmaking also goes far with this. The editing from Rebecca Lloyd is painful and will make audiences stop in their tracks at multiple points by forcing them to face the harsh reality of life. From the government failing to provide support to those who need it the most to having to be vulnerable to those who you love; Herself is often a painfully honest film but also feels rather positive at times. For every sequence where the film goes into the dark side of the human experience, it is careful to bring it back to a place of positivity and empathy. Even if it goes against the logic of what would actually happen in the world, the film builds a rather beautiful look at the power of community who are willing to dedicate their time and resources to help Sandra up when she has no one else to lean on. There is something undeniably charming regarding these various characters and at the end of the day, such a charming look at community and connection at the very least will hit deep nearly a year into the quarantine era where things like busting out beers in someone's backyard has become both illegal and dangerous. Whilst the fact that this is such a glorified look at community might stop the film, at times, from feeling as impactful as other similar projects, considering the film is from the same director as Mamma Mia! this really comes as no shock.
Herself might be a bit unrealistic in its charm and positivity at times but still largely is an effective and moving feature. The film both will punch the audience square in the gut while also comforting them before things go too far. With some incredibly strong editing and performances, it is hard not to become invested in the film's drama and overall the film is a clear success.
This struggle at the center of the film between damage and healing provides the film its haunting impact. Continually, Sandra is on the ropes fighting for even the most basic moments of happiness. From pressure by the courts who always seem on the verge of granting her abusive ex-husband custody of the children to her own personal trauma from her time with him and the pressure she has to protect her children from the pain she experienced, Sandra's life is often a living hell and the performance from Clare Dunne carries a skilled conviction that brings this drama to life. Dunne breathes a real soul into this character that, though scared, is not defined by her pain. She is well rounded in identity and transcends simply feeling like a solid performance. She transforms into this complex and layered character in a near masterful way.
The filmmaking also goes far with this. The editing from Rebecca Lloyd is painful and will make audiences stop in their tracks at multiple points by forcing them to face the harsh reality of life. From the government failing to provide support to those who need it the most to having to be vulnerable to those who you love; Herself is often a painfully honest film but also feels rather positive at times. For every sequence where the film goes into the dark side of the human experience, it is careful to bring it back to a place of positivity and empathy. Even if it goes against the logic of what would actually happen in the world, the film builds a rather beautiful look at the power of community who are willing to dedicate their time and resources to help Sandra up when she has no one else to lean on. There is something undeniably charming regarding these various characters and at the end of the day, such a charming look at community and connection at the very least will hit deep nearly a year into the quarantine era where things like busting out beers in someone's backyard has become both illegal and dangerous. Whilst the fact that this is such a glorified look at community might stop the film, at times, from feeling as impactful as other similar projects, considering the film is from the same director as Mamma Mia! this really comes as no shock.
Herself might be a bit unrealistic in its charm and positivity at times but still largely is an effective and moving feature. The film both will punch the audience square in the gut while also comforting them before things go too far. With some incredibly strong editing and performances, it is hard not to become invested in the film's drama and overall the film is a clear success.