by Shane Conto
When did tales of forbidden love between lesbians become one of the most popular sub-genres in film? Well… does that question really matter when the films are so great? Bleecker Street takes their own stab at this type of romance with their new release, The World to Come. Screenwriter Jim Shepard takes his own story and helps adapt it to the screen and that might be why the film works so well as a visual adaptation of a written work. But what makes a forbidden lesbian tale even better? Putting it in a period piece, of course! Shepard sets the scene…upstate New York…1856…two couples in the wilderness…two lonely and unfulfilled wives…GO!
For such a tale, you need a talented and deft director to bring nuance and atmosphere.
Is director Mona Fastvold the needed captain to lead this ship? After watching this moving and affecting drama, there is no doubt that she was the right choice. Fastvold brings a tender and sensitive eye to this film, which is important when the film centers on two vulnerable and frustrated women. The atmosphere that is created by Fastvold and cinematographer Andre Chemetoff is poignant and tangible for the audience. There is a graininess and rugged beauty to the film that feels vintage and transports the audience into this time and place. Composer Daniel Blumberg pulls his weight as well with an incredibly impactful score that delivers tenderness and anxiety when appropriate. The tone of the film is the key. If it felt too melodramatic, you could not take this weighty story seriously. If it was to somber, you would lose all of the love and romance. The World to Come delivers on both accounts and that is a great thing. There are not many romances on screen that have delivered the same fire as the love between the main characters, Abigail (Katherine Waterson) and Tallie (Vanessa Kirby). Fastvold makes sure that this build delivers through restraint and knowing when to deliver the right emotional blow.
Speaking of fire, do stars Katherine Waterston and Vanessa Kirby provide the needed spark to light this fire?
That is a huge yes as I am surprised they did not burn down all of upstate New York. Waterston is saddled with a heavy load of work in this film as she not only has to sell her half of this slow burning attraction, but also has to carry the narration through the whole film. In many films, the dialogue can feel redundant and unnecessary when it comes to “show don’t tell” storytelling. Waterston, along with the beautiful words written by Shepard, delivers the needed poetry that adds layers to the story instead of weighing it down. Waterson uses so many small choices in her facial acting that you are able to see her wanting gazes so clearly. You can feel her body change in the presence of Kirby and vice versa. Kirby uses great physical acting from the way she stares to the way she sits in reference to Waterston. The chemistry between these two actresses is electric and left me on the edge of my seat waiting for them to finally act on their fiery desires. Casey Affleck plays Waterston’s husband who has layers himself. You get the feeling that something sits beneath the surface that connects him to his wife’s hidden desire and that comes to life so well due to Affleck’s performance. Then there is Christopher Abbott…what a despicable character. Abbott is so great at his work that I wanted to jump through the screen to hit him myself.
But does the writing from Shepard and his co-writer, Ron Hansen, meet the same quality as the cast?
It sure does, with no question. There is poetry and beauty in the words that come from each character. Kirby is given some sharp and impactful dialogue that is at times low key hilarious and at others completely devastating. I can listen to the dialogue over and over again as it is so eloquent in its creation and execution. How about the story? There are quite a few inspired moments throughout the film that bring it to life. There is a great example of cross-cutting that delivers such an impact between one scene of a couple coming together in bed after a long time of suffering and loss and one scene of a woman coming to the brink of death in the cold. For a film that features such a powerful sexual connection, it certainly takes its time in showing you the raw emotional results. But then as the film drives quickly to a tragic and somber note, the story pulls the trigger on showing this love and the montage is absolutely gorgeous. This film feels like the long climb of tension to the top of a roller coaster and then delivers a horrible tragic freefall as the coaster plummets from its peak.
Are these words enough to convince you that The World to Come is a special experience worth taking?
I would be shocked if you were not at least left curious about this beautiful and somber tale. The performances are towering, the direction is artful and sharp, and the writing is poetic and moving. Bleecker Street has a winner on their hands with this one and a new director to keep an eye on with Mona Fastvold. The World to Come is an early standout in the 2021 cinema scene.
Grade: A