Paste's best movies of the year: panther_BL on the potent natural metaphor that takes God's Creatures from shallow waters to radical depths
After this flooded prologue, Saela Davis and Anna Rose Holmer’s film introduces us to the women of the fishery on a small Irish island. More than friends and coworkers, these women are comrades, working together to help each other get by. What happens to one affects them all.
One morning after a night out at the pub, Sarah comes into work looking distraught. She’s shrunken into herself, barely composed. As she takes her usual place at the far end of the factory floor, the camera creeps past the other ladies going about their day. Inching closer, sounds of hyperventilation change the rhythm of Danny Bensi and Saunder Jurriaans’ otherwise languid score. An interruption—something’s not right.
It’s no coincidence that the appearance of the fungus coincides with our suspicion that something violent happened to Sarah. The water and the village are twin worlds, ecosystems with a delicate equilibrium. The oysters and the women have a common problem and a similar solution. Both have been violated and require hard choices to correct the intrusion.
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