An Intimate Study and Depiction of Grief

In the opening sequences, Shia LaBeouf (Sean) confidently struts through a construction
site, gleefully anticipating the birth of his daughter. Vanessa Kirby (Martha) enjoys a baby
shower before the young couple receive a new car. By all accounts, the pair have everything
going for them, and they are ready to start their family and life. Their problems begin as their
choice in midwife is unavailable when contractions begin without warning. The following
seemingly continuous shot builds the tension as Martha’s difficult labor progresses. Just as
winter is approaching with its cold and moody colors, the film suddenly takes a turn for the
worst. Although the baby is able to be successfully delivered, the baby’s problematic heartbeat is a forewarning of the tragedy to come. All the viewer can do is hold their breath as the
paramedics rush to the scene.

Kornél Mundruczó’s melodramatic film first bravely explores the true complexity of labor, especially concerning a home birth. More than that, the film is an exposition of individual grief. The film, especially in its beginning, is painful and unforgiving to the viewer, but comes off as a realistic and visceral depiction of the mourning process. The tragedy of losing a baby affects each character very differently. As Sean reacts with outbursts of anger and relapsing, Martha shuts herself down and refuses to face the reality head on. Both Sean and Martha’s mother Ellen Burstyn (Elizabeth) steer their feelings against the midwife, feeling that legal proceedings against her will give them the closure and justice they desire. Elizabeth implores Martha to authentically face the tragedy, referencing her own trauma from her childhood during the Holocaust.

Although authentic in depicting trauma, the film fails to deliver a satisfying or consistent closing. In the end, Martha is able to find closure by letting go of any resentment towards her midwife, or any guilt surrounding the home birth. However, the courtroom sequence departs from the realism of the rest of the film. As Martha gives a speech to the courtroom and seemingly the viewer, it is hard not to be thrown out of the immersion that the rest of the film provides. This jarring exposition seems at odds with the intimate and personal themes throughout the rest of the story. The surreal ending scene centered around the symbolism of an apple tree offers some needed closure and happiness for Martha as we see her future family. However, this dream-like sequence again seems at odds with the unyielding realism in the first half of the film.

In conclusion, the film strongly delves into an interesting premise. However distracting
and less effective side plots distract the viewer from the already effective main storyline. As
Sean battles with his own demons, his infidelity and self-defeating behavior adds little to the
main drama of the film. Shia LeBeouf’s boorish (as Sean himself puts it) performance seems a
little one dimensional, simply acting on pure instinct without adding much to the topic of trauma. On the other hand, Vanessa Kirby’s journey as Martha after facing her worst nightmare is thoughtfully and effectively performed. The beginning sequence is an effective introduction to the film’s central tragedy, even if it had some trouble following through near the end. Although the film suffers from some missteps in character development, the overall study into a parent’s trauma in losing a child offers an interesting look into a topic that is not often explored in film.

by Sam Modlin

• Pieces of a Woman, 2020, 126 mins
• dir.: Kornél Mundruczó, screenplay: Kata Wéber, actors: Vanessa Kirby, Shia LaBeouf, Ellen Burstyn
• Netflix