Vindictive women have long been the backbone of the thriller genre. Although Miriam (Madeline Sims-Feuer), the protagonist of “Violation”, may wish to get into those shelves, she cannot plot her revenge – literally. In an instant, when blood is shed, Miriam vomits for a second, 78-second shot, hot on all fours like a cat. Sims-Favre, who wrote, directed and produced the film with Dusty Mankenley, drank a saltwater sip so that he could actually throw up for the scene. Such ruthless dedication to realism distorts the film, resulting in a revenge-making story that ultimately is more volatile – and more successful – than its predecessors.
This is the first film by Sims-Feuer and Mankinelli centers on Miriam, a woman on the edge of divorce, as she ends the betrayal by her brother-in-law, Dylan (Jessie Lavercombe). Unable to be humiliated by her subjugated husband (Obi Abili) and her sister (Anna Maguire), Miriam takes Catherine into her own hands. To say what happens between Mary and her loved ones, or how she wants justice, will deal with this delicate construct, which uses a naturalistic approach to portraying unnatural violence.
Once dreamy and punitively real, “Violation” seeks to bring the audience into the world of its haphazard rival. The story unfolds in non-chronological order, throwing the viewer into Mary’s shock-enhanced memory. Excessive close-ups both intensify and obscure horrific acts, and the sparse script spans dialogue-free scenes, with the action only stopping breathing or sobbing.
The exemplary performance further enhanced the film. The actors share incredible chemistry, lending history and significance to each relationship, while also making it difficult to completely love or hate someone. The Sims-Fair is a staggering threat, with an apprehension whose fearlessness dedicates a hero-to-the-wise man to a woman on the verge. She is the opposite of her best Maguire, her sister constantly wavering between dynamic devotion and competition.
Almost all the action takes place in the wilderness of Quebec, an ancient layer for naturalism. As hunters and prey – spiders and flies, wolves and rabbits – cross the path of these humans, Maryam struggles up the food chain. Although a lifelong “white knight” for his sister, he is also a bleeding heart, outspoken against the victim. In one early scene, a spider is trapped under a glass, despite her husband’s insistence that she kills him. Later, when she captures a human hunter, that mercy is not a mistake she wants to repeat.
Although “Violation” threw a different tack to Miriam’s vengeance, the film is a commendable achievement for feature directors for the first time. Sims-Fuer and Mankinelli have given their theme the focus it deserves, revealing itself as thoughtful, artistic, and uncompromising in their shared vision. This female-centric story manages to be gruesome while resisting exploitation – a welcome and isolated addition to a genre that is often fond of theism.
Not rated. Running Time: 1 hour 47 minutes. Look at the shudder.