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First, the Recap:
“No, seriously, I really don’t want to talk or think about it”. Is this not a standard reaction when confronted with any uncomfortable or awkward subject brought about in conversation? We’d rather deflect than face hard truths, especially when they are referencing that which we ultimately have no control over–and greatly fear. Yet, with possible outcomes to said topics unsure, perhaps it would be better to take a chance and hope? For Laura (Maria Popistasu), it is the phantom of death that lends an unsettling atmosphere to her home, stealthily permeating her thoughts even as she’s dotingly cares for her ailing father Sorin (Alexandru Dabija) whose taken up temporary residence. It is the love of a daughter and the trepidation of potential loss.
Yet, one day, the two are surprised by an unexpected guest in form of a seagull, trapped in between a window and the bars that enfold it, struggling to be free, yet worn out from said fight and its own sense of uneasiness at the two “giants” contemplating the situation and making attempts to free it. Seeing this as an opportunity to repel any thoughts about her father’s failing health, Laura utilizes the now captured bird as an excuse to save something and guide her and Sorin’s chatter to it rather than anything less appealing. Finally choosing to take the injured avian to a local veterinarian (Paul Chirana) on the same day as her father’s doctor’s appointment arrives, what follows teaches an impactful, sobering lesson about life.
Next, my Mind:
There’s a wonderfully eloquent, softly formidable, and delicately forceful urgency present in this 15-minute short film effort from Romanian writer/director/producer/actress Maria Popistasu and countryman director/producer Alexandru Baciu, screening in December as part of this year’s Berlin Liberi Film Festival, as it forges an intimate and cleverly executed portrait of how human beings deal with the nearness of passing and our so often adamant denial of its approach. Taking the depth of its character-driven drama and focusing it on how this concept is impacting a father and daughter during a trying time for his health and the accompanying, obviously understandable, concern and tender love she possesses for him, the narrative then throws in the unanticipated object, aka: an impaired seagull, that becomes the new core of both attention and attitude within Laura.
Using it to find a new element of hope while allowing her to not be continually disquieted by any difficult conversations with her father, which only make her dwell on the inevitability she doesn’t want to even consider, much less accept, the journey Laura embarks on to save the bird is filled with purpose and resolve, especially as the film’s finale approaches, weaving her father’s doctor’s appointment into the mix with weighty effectiveness. But, it also causes her to still have to face that which she’s been avoiding as well, and the means by which this occurs really cements in the viewer’s own mind the fact that we simply don’t like encountering mortality at all, particulary when it involves those closest to us or things that we treasure dearly. The writing here deftly aids in drawing us into Laura’s world and the plight she finds herself in, and does so with an intentionality that is stirringly plausible and well-founded. Visually the film maintains a starkness that very much befits the themes being presented while embracing the characters to an affecting level that likewise suits a character-based story such as this.
Popistasu, a firmly established actress, brings a beautifully emotional, slowly burning intensity to her role as Laura, a woman facing facts she doesn’t desire to when it comes to her beloved father Sorin, whom she patiently handles with loving determination even despite his sometimes obstinate, frustratingly carefree manner, given the overall state of health he’s experiencing. Then with the seagull coming into the picture, it gives her a new point of connection to encompass while also feeling, perhaps, the same freshness of attachment in her relationship with Sorin that it brings, even when he finds reasons to be stubborn again when it comes to her idealistic intentions caring for the seagull. As Laura continues down a newfound road of needed fulfilment, she gets to share in news both encouraging and disheartening, the dichotomy of which brings her to a eye-opening realization about both that which she’s hoped for and that which she’s feared, and it’s a palpable, believable, and skillfully enacted series of moments that mold all of this together, which Popistasu embodies so well throughout the film, allowing us to believe everything her character feels, subtle or blatant. As this reviewer always points out, it’s a very human performance, which is paramount for films and stories like this.
Additionally, Dabija also brings a completely realistic performance to bear in his role as Sorin, Laura’s sickly father who is more than not ready to throw in the towel, much less even act as if he’s facing anything remotely life-threatening. Having an evident cantankerous streak that can sometimes make his daughter’s attitude turn a tad annoyed, it’s still very clear that he knows how much she loves him and is only wanting for him to not “go away”, even though it is eventually going to happen. He therefore chooses, at least initially, to be involved with “caring” for Laura’s new friend, the seagull, but does so in ways that are quite humorous, given his suggestions for how she should care for it and what she should do with it are really less than feasible. The moments he shares with her are sincere and grounded, even more so during a key moment in the story, and Dabija delivers every emotive scene with poise and highly enjoyable presence. The prime supporting turn comes from Chirana as the veterinarian Laura bring the seagull to for assessment on its condition and news it can be aided successfully, with appearances by Mihai Gurei and Elena Vancica as work colleagues of Laura’s.
In total, “The Seagull” is a thoroughly worthy indie short film effort that assuredly deserves recognition for its poignant and evocative themes about death, the bonds of parent to child, and the hard realities we have to face in this existence we cherish which should, ideally therefore, cause us to take every opportunity to enjoy every moment we have with those we love, knowing that while things don’t always work out the way we dream and wish they would, it doesn’t diminish the value of time spent with worthwhile endeavors.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
