Tell That to the Winter Sea
Two childhood friends reconnect at a hen party in Jaclyn Bethany’s LGBTQ+ romantic drama.
It's impossible to view this film without realising the deep involvement of all concerned. It has been written by its American director Jaclyn Bethany and its British lead actress Greta Bellamacina who have on occasion worked together before and the film’s approach is very much in line with Bethany’s declared determination to make movies that focus on women and are told from their viewpoint. Much of her output – whether as director, writer, producer or actress – doubtless witnesses that aim and in the case of Tell That to the Winter Sea she takes it a step further by creating a feature film with an all-female cast. That has, of course, happened before and as far back as 1939’s The Women but, as issues around women's place in society change and take on an even more central role, the very concept of having an up-to-date film made on this basis is unquestionably welcome.
It could well be that many female viewers will find satisfaction in this endeavour but this male critic found Tell That to the Winter Sea a work more interesting for its intentions than successful in realising them effectively. It centres on Jo (that's Bellamacina’s role) who is living in Kent and has set up a hen party in a grand house which she is temporarily occupying. Her guests include her sister Jen (Bebe Cave) and five friends with whom she has been close over the years. The oldest is Kat (Josette Simon) whom she had encountered at university and then there's Jade (Tamsin Egerton) who is pregnant and Lily (Jessica Plummer) who arrive together. However, the most significant of the guests, the closest in every sense, is Scarlet (Amber Anderson). Jo and Scarlet attended the same Catholic school where they were seen as inseparable and we soon realise that Scarlet had been Jo's first love. What weight attaches to that is a major question now since Scarlet is openly lesbian in contrast to Jo who is holding this gathering in order to celebrate her forthcoming marriage to John, a theatre director whom she has met through her stage work.
The notion of creating a film centred on some kind of relatively intimate gathering in which a number of characters will talk, interact and confront facts about their lives is far from being new but it is certainly always a workable notion. Sometimes it's an approach favoured by independent filmmakers working with friends and yields films that are at once heartfelt but slightly amateurish in tone. But what really counts is the quality of the dialogue whether written or improvised and the degree of conviction and depth achieved. In the case of Tell That to the Winter Sea its all-female cast of characters provides the opportunity to give real insight into how women express themselves when away from male company. However, the words that we hear often carry a sense of being consciously set up for that very purpose and that compares unfavourably with the authenticity and depth to be found in the recent very distinguished Estonian documentary Smoke Sauna Sisterhood.
But, if that is something of a limitation, there are in fact other flaws in Tell That to the Winter Sea which are more crucial weaknesses. The way in which the story is told involves frequent flashbacks to events in the past and not least to the schoolgirl friendship between Jo and Scarlet. That's a case of going back at least fifteen years and it not only involves much intercutting that becomes intrusive at times but is marred by the unwise decision to ask the two leading actresses to appear as the young versions of the characters that they are playing. Bellamacina has a strikingly different hairstyle to help the differentiation but it is difficult to accept this casting decision. It's also the case that, despite the outlooks of the other women which the film touches on from time to time, the prime focus is on Jo and Scarlet and on the significance of Jo’s intended marriage. Scarlet, who is hardly unbiased in the matter, expresses doubts about Jo's decision. There is much emphasis on John (who is, of course, never seen) being much older than Jo and on how this step might guarantee for this 31-year-old woman a lifetime of future stage appearances in his works. That could be seen as a tactic for security but quite possibly one limiting her range and letting him be the controller of her career. Jo is in denial about all of this but the film raises these issues without ever clarifying in adequate detail her feelings or motivation regarding John.
The cast certainly play together in a way that sets the tone for a realistic portrayal of the hen party but that then comes into conflict with a somewhat unexpected decision. Dancing is important to Jo and her rapport with Scarlet is often expressed through scenes featuring shared dance movements presented with or without vocal accompaniment. The passages presented in that style seem to belong to a different movie altogether. No wonder then that the film falls short of its goals with even the emotional climax weakened by ever more extreme use of self-conscious intercutting. Indeed, my greatest praise would be for the excellence of the film’s sound quality, a factor not always so well judged in independent filmmaking. Nevertheless, for some viewers the intention behind the film may be so laudable that my reservations may be considered either misjudged or of secondary importance.
MANSEL STIMPSON
Cast: Greta Bellamacina, Amber Anderson, Tamsin Egerton, Josette Simon, Jessica Plummer, Bebe Cave, Allegra Marland, Junia Rees, Daisie Boyes, Maria Austin, Olivia Van Niekerk, Bea Paisley-Day.
Dir Jaclyn Bethany, Pro C.C. Kellogg and Robert Montgomery, Screenplay Jaclyn Bethany and Greta Bellamacina, Ph Irene Gomez-Emilsson, Pro Des Nina Scott-Smith, Ed Amarachukwu Modu, Music Francesco Perini and Tess Parks, Costumes Jasmin Ada Knox.
BKE Productions/Ellipsis Pictures/Luca Severi Production Group/Sulk Youth Films/Valmora Productions-Kaleidoscope Distribution.
92 mins. UK. 2024. US Rel: 3 May 2024. UK Rel: 31 May 2024. Cert. 15.
