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  7. Pieces of a Woman – Review, a look that goes beyond words

Pieces of a Woman – Review, a look that goes beyond words

Pieces of a Woman – Review, a look that goes beyond words


In our Pieces of a Woman review we attempt to collect all the little things that make up a quietly eloquent film.

To speak in one review from Pieces of a Woman it is important, first of all, to start from an analysis that also concerns it human specific and all the little things related to existence, to lost and pain. There is talk of a film that revolves mainly around this, which develops its trend in silences of a woman who speaks with her eyes and who finds herself facing an extremely delicate and difficult moment in her life, going beyond the images of the film and all the speeches that could be made about it. Pain is something subjective, it is also something that can be shared, however, marking but at the same time complicit in aevolution which could lead to unexpected turns. Starting from all this, Kornél Mundruczò shoots and brings to Netflix a film that could easily transcend time, that doesn’t need its own trend or moment, that doesn’t need a market, or a label, drawing a certain type of fragility that could easily belong to everyone we.

Loss and pain in this Pieces of a Woman review

The plot of Pieces of a Woman mainly revolves around Martha Weiss (played by Vanessa Kirby)and to Sean Carson (Shia LaBeouf). She is pregnant and they decide to organize the birth at home, with due precautions. However, everything does not go as expected and the newborn baby loses her life due to some particular complications during labor. From this moment on the film starts, dragging both the protagonists and the spectators on a journey that falls more and more into depth, analyzing the reactions of these young people in relation to what happened. All the reflection of Pieces of a Woman originates from the pain of this loss, and it does so by touching many small things, even external to the protagonists themselves, without, however, ever limiting itself only to everything, without limiting its possibilities to what they simply try, to trace the features of a path which becomes evolution and involution at the same time.

The narrative, the way events are presented, develops through one temporal sequencing very precise, marked by the days that pass and by one building symbology which first embraces the characters and then their growth, among the various events. Even the inexorable flow of the weather it becomes a very important narrative element once it is framed in the progress of the film and in the changes that the protagonists experience.

The specter of Pieces of a Woman

There hope and the complications of life, the obstacles that human beings find themselves facing, remain the main fuel of a narrative that takes extremely into account theemotionality of its characters. From the events that see childbirth take a dramatic turn, a whole series of themes develop which we cannot fail to mention in a review of Pieces of a Woman. The death theme it is the one that hovers the most in every single scene, the one that breaks it gaze of Martha from start to finish, in an expressiveness that Kirby fully reproduces. All this reflects not only on his personal suffering, but on his own life in full, through the eyes of work colleagues, the words of the people who know her and about her life as a couple. All it is upset, every single thing changes and silently moves towards a new balance, new answers and certainties.

The film, in fact, immediately reflects on this thing, on the suffering that kidnaps both of them and on the responses to this suffering, on theirs couple relationship that progressively changes, seeks answers, tries to recover by overcoming, perhaps, the moment. This emotional fresco remains well done, placing itself not only as a derivative analysis, but as deepening ofhuman nature placed in such situations. The relationship with the family, the particular relationship that Martha has with her mother and that she has with her partner. Much is left to the silences, to these moments in which the director chooses to leave his characters, outlining a narrative that alternates a fairly fast pace, with a slower one but always eloquent.

Machine movements that know where to “touch”

One of the first things that catches the eye with this film is his own direction. Mundruczò knows perfectly how to frame his protagonists, and he does it with movements of continuous chamber e sequence shots designed to highlight not only their external expressiveness but above all that inner. The “long takes” help to return a feeling of intimate inclusiveness and realism even in the strongest scenes, dwelling a lot on the expressions and micro-expressions of each individual actor, on their bodies shot up close and in the distance, fixed in an indefinite time of reflection and uncertainty.

This particular attention gives rise to an extremely careful formal commitment, accompanied by the very credible interpretations of the actors (it is not surprising the victory with the Coppa Volpi for the best female protagonist to Vanessa Kirby, at International exhibition of cinematographic art). Attention to the emotional specific and the close-ups remain fundamental in the construction of the soul of the whole film, moving the steps of a discourse that soon passes from intimate to social, from subjective to unanimous, from human to monetary and fragile, from all points of view.