Pieces of a Woman is what happens when rich, entitled white folk have bad shit happen to them. Do they take responsibility for their bad decisions? Ha! Of course they don’t. They blame anything, everything and everyone they can.The film begins with a technically virtuosic sequence where the lead character Martha (Vanessa Kirby) goes into labour. She’s got an awesome apartment, has a studly boyfriend played by the trainwreck of a human being that is Shia LaBeouf and has decided to give birth at home. Fair enough. That’s a perfectly reasonable decision. However, it’s also a risky decision. If you give birth at home, you’re exposing yourself to danger. You’re like a tightrope walker without a safety net. If something bad happens, you’re in trouble.Anyone who’s made this decision should be completely honest with themselves. They should know that the potential for tragedy is far greater. But of course these assholes just want to have a beautiful home birth, listen to some shitty music on Spotify and stay out of that icky hospital where people can actually help them.The opening sequence is well choreographed but is ruined by the acting of Vanessa Kirby. She doesn’t look like she’s in labour; she looks like she’s high. Or that she’s chugged a couple of bottles of wine. I’ve seen so many labour sequences in movies and television shows over the years and the acting from her is one of the worst. The smoke and mirrors of the shooting can’t disguise shitty acting.The best acting comes from Molly Parker as the poor midwife who has to deal with these pampered douchebags. The creeping dread of this complicated labour is very subtly conveyed ,and she does her absolute best in difficult circumstances, but you can tell that she’s shitting bricks.Despite some difficulties, the baby is born. All seems well. Shia LaBeouf even cracks out an old film camera and begins snapping away. Who the fuck does this? His baby is two seconds old and his first thought is to grab a camera. He doesn’t take a minute to enjoy the moment. He doesn’t hug his wife. He doesn’t use his eyes to gaze upon the wonder of his newborn baby. No, he snaps away with an old film camera. I don’t know why, but the film camera part of it makes it worse for me. I absolutely love film, but are you telling me that this roughneck is into film photography? Get the fuck out of here.Five seconds later the baby begins to struggle to breath and turns blue. The assholes don’t notice this but the poor midwife does and tries her best to intervene. An ambulance soon arrives but it’s too late. Bet you this wouldn’t have happened in a hospital.Is that too blunt of a statement? Is that too reductive? Is it too insensitive? But for the whole movie I was waiting for someone to mention this. Martha’s mother kind of broaches the subject, but it’s only in the final sequence that the question is explicitly asked. And it’s asked by the midwife’s lawyer. But the subject is quickly dismissed.Instead Martha, upset by the questioning, gets to have a break. When she comes back, she asks if she can address the court directly. ‘This is highly unusual’ everyone mutters, which is movie code for ‘what’s about to follow is implausible BS’. So Martha addresses the court and makes a little speech. She says that what happened wasn’t the midwife’s fault. Everyone watching is meant to cry rivers of fat tears. I, however, was fuming. So this rich asshole gets to pardon the poor peasant? The person who was trying to act responsibly and do their best in difficult circumstances? How wonderful. How heartwarming. Yes, you’ve only put this woman through hell. You’ve only put her through months of stress and agony. You’ve only potentially taken her freedom away from her because things didn’t go perfectly. How dare you. And how dare this fucking film. The midwife doesn’t even get to say anything. She just gets to look worried and sad and then grateful. In reality she would despise Martha. The shit that Martha has put her through. Surely her professional reputation is in the toilet because of this. Who would hire her now?So no, the ending didn’t warm the cockles of my heart. In fact, my rage only intensified during the final coda.The ending has a child walking through a vast field and then climbing a tree. A woman calls the child and of course it’s Martha. They then walk hand in hand back to a large house. Does it make me a bad person that my sympathy is vastly eroded when the characters are disgustingly wealthy? Try losing a child when you don’t have a rich mother to bail you out. Try losing a child when you have to deal with bullshit from insurance companies. Try losing a child when your boyfriend isn’t a coked up manchild and yet you still separate anyway because the grief is too great.The depiction here of Martha’s boyfriend Sean, played by Shia LaBeouf, is remarkably simplistic and one note. He cries a little bit but he’s mostly filled with blind rage. In one scene, not long after the incident at the beginning, he bullies his girlfriend into trying to have sex. They’re sitting on the couch and he grabs her hand and puts it on his penis. And then even though she isn’t physically or emotionally ready, forces himself on her. It’s essentially a rape scene.As well as being a rapist asshole, Sean is also a complete moron. In one scene he spews the following toe-curling line: ‘Why are you trying to disappear my child?’ This is in response to his girlfriend trying to take apart the baby’s room. Who talks like this? Did he suddenly turn into Yoda? And Sean then goes on to say that he ‘misses’ his child? You mean the child that was alive for about ten seconds and the child that you loved so much you had to crack out your film camera for? You might be sad that your child didn’t get to live. You might wonder what kind of amazing future your child might have had if circumstances had been different. But you miss them? It’s like what someone would say if they’re trying to convince themselves they have emotions.After this nonsense, Sean begins an affair with Martha’s cousin, who, would you believe it, is a lawyer who’s going to represent Martha in court. Why are Sean and Martha’s cousin doing this? Couples fall apart after trauma for a variety of reasons. Why reduce it to some soap opera level bullshit? Him and the cousin even start doing some coke after they have sex in her office, which is tacky as fuck.I also find the depiction of the cousin completely unbelievable. She’s dowdy and shy looking and yet she’s supposed to be some fearsome lawyer. She also keeps on spouting disgusting shit about how the midwife must pay.But back to Sean’s character. There was one scene of domestic abuse that was so over the top and ripe with student-level symbolism that I couldn’t help but laugh. Martha has gone out to a club and flirted with a man to communicate her intense suffering. Because this is what always has to happen in films of this ilk. It’s not enough to just suffer. People have to suffer beautifully while flirting with other beautiful people because they’re so damn sad. And then she comes home to her boyfriend and they get into an argument. She’s smoking on the couch and he throws a yoga ball in her face. She doesn’t say a thing. She doesn’t even look mad. She just stubs out the cigarette on the sofa (to communicate her smouldering rage) while her feet rest on the deflating yoga ball (to communicate that she’s sinking) as withered plants and flowers surround her (to communicate the death of their relationship). We then cut to a shot of an unfinished bridge (to communicate the gulf that exists between them). All of this happens in about twenty seconds. You couldn’t lay it on thicker if you tried.But Sean isn’t even the most heinous character in this movie. That dubious distinction would go to Martha’s mother played by Ellen Burstyn. At first she seems like a harmless rich old lady. She even buys Martha and Sean a new car. But as the film develops we see what a bitter, twisted old fuck she is. Everything that has happened is the fault of the midwife, and the midwife must pay for her mistakes. Because isn’t that what rich people do? Rather than look at things from every perspective; rather than accept the complexity of life, there always has to be someone to blame when things don’t go the way they want. Because they’re rich. Nothing bad is meant to happen to rich people. Infant deaths and things of that nature only exist in the realm of the poor. So it must be the midwife’s fault. And she must go to jail because I don’t get to hold MY granddaughter.In one scene Martha’s mother relates her strength of character. She says how she was born during the Second World War and how her mother would have to scrounge for food in order to survive. She barely had enough food to produce milk. In fact, people told her to get rid of the baby; that the baby wasn’t going to make it. But then to prove her strength, she held the baby upside down and the baby raised her head. Martha’s mother tells this story as a pep talk. What? So if I was an underfed baby and I still had the strength to raise my head, you should be able to get over your grief? That’s bonkers.And Martha’s mother relates this story like she can personally remember it. Like she can remember being that baby. She doesn’t tell it like ‘my mother told me I raised my head’. No, it’s like she can remember being a few weeks old, which of course is complete and utter horseshit. It also speaks to a deeper, most insidious attitude in general. Well, if I can overcome malnutrition why can’t all those starving children in Ethiopia too? Well, if I can become stinking rich why can’t all these poor people as well? If only people would pull themselves up by their bootstraps like me.To further illustrate this woman’s character, or lack thereof, she solves the problem of Martha’s boyfriend Sean by throwing money at him. Sean has a pretty good job so how much money would it cost to make him disappear? $10,000? $50,000? $200,000? I’m guessing it’s a bonkers amount, seeing as the check does the intended job. But again, how disgusting is this person? People are just objects or problems to be dealt with and disposed of.Despite this, once the trial is over, we’re again meant to feel warm and fuzzy when Martha has dinner with her mother at some fancy restaurant. Martha’s mother is becoming forgetful but Martha sympathetically holds her hand. Am I meant to give a shit? I hope her mother forgets everything. I hope she forgets about her daughter. I hope she forgets herself. I hope she forgets every fond memory in her head. But most of all, I hope she doesn’t get to enjoy her granddaughter.
Pieces of a Woman is what happens when rich, entitled white folk have bad shit happen to them. Do they take responsibility for their bad decisions? Ha! Of course they don’t. They blame anything, everything and everyone they can.The film begins with a technically virtuosic sequence where the lead character Martha (Vanessa Kirby) goes into labour. She’s got an awesome apartment, has a studly boyfriend played by the trainwreck of a human being that is Shia LaBeouf and has decided to give birth at home. Fair enough. That’s a perfectly reasonable decision. However, it’s also a risky decision. If you give birth at home, you’re exposing yourself to danger. You’re like a tightrope walker without a safety net. If something bad happens, you’re in trouble.Anyone who’s made this decision should be completely honest with themselves. They should know that the potential for tragedy is far greater. But of course these assholes just want to have a beautiful home birth, listen to some shitty music on Spotify and stay out of that icky hospital where people can actually help them.The opening sequence is well choreographed but is ruined by the acting of Vanessa Kirby. She doesn’t look like she’s in labour; she looks like she’s high. Or that she’s chugged a couple of bottles of wine. I’ve seen so many labour sequences in movies and television shows over the years and the acting from her is one of the worst. The smoke and mirrors of the shooting can’t disguise shitty acting.The best acting comes from Molly Parker as the poor midwife who has to deal with these pampered douchebags. The creeping dread of this complicated labour is very subtly conveyed ,and she does her absolute best in difficult circumstances, but you can tell that she’s shitting bricks.Despite some difficulties, the baby is born. All seems well. Shia LaBeouf even cracks out an old film camera and begins snapping away. Who the fuck does this? His baby is two seconds old and his first thought is to grab a camera. He doesn’t take a minute to enjoy the moment. He doesn’t hug his wife. He doesn’t use his eyes to gaze upon the wonder of his newborn baby. No, he snaps away with an old film camera. I don’t know why, but the film camera part of it makes it worse for me. I absolutely love film, but are you telling me that this roughneck is into film photography? Get the fuck out of here.Five seconds later the baby begins to struggle to breath and turns blue. The assholes don’t notice this but the poor midwife does and tries her best to intervene. An ambulance soon arrives but it’s too late. Bet you this wouldn’t have happened in a hospital.Is that too blunt of a statement? Is that too reductive? Is it too insensitive? But for the whole movie I was waiting for someone to mention this. Martha’s mother kind of broaches the subject, but it’s only in the final sequence that the question is explicitly asked. And it’s asked by the midwife’s lawyer. But the subject is quickly dismissed.Instead Martha, upset by the questioning, gets to have a break. When she comes back, she asks if she can address the court directly. ‘This is highly unusual’ everyone mutters, which is movie code for ‘what’s about to follow is implausible BS’. So Martha addresses the court and makes a little speech. She says that what happened wasn’t the midwife’s fault. Everyone watching is meant to cry rivers of fat tears. I, however, was fuming. So this rich asshole gets to pardon the poor peasant? The person who was trying to act responsibly and do their best in difficult circumstances? How wonderful. How heartwarming. Yes, you’ve only put this woman through hell. You’ve only put her through months of stress and agony. You’ve only potentially taken her freedom away from her because things didn’t go perfectly. How dare you. And how dare this fucking film. The midwife doesn’t even get to say anything. She just gets to look worried and sad and then grateful. In reality she would despise Martha. The shit that Martha has put her through. Surely her professional reputation is in the toilet because of this. Who would hire her now?So no, the ending didn’t warm the cockles of my heart. In fact, my rage only intensified during the final coda.The ending has a child walking through a vast field and then climbing a tree. A woman calls the child and of course it’s Martha. They then walk hand in hand back to a large house. Does it make me a bad person that my sympathy is vastly eroded when the characters are disgustingly wealthy? Try losing a child when you don’t have a rich mother to bail you out. Try losing a child when you have to deal with bullshit from insurance companies. Try losing a child when your boyfriend isn’t a coked up manchild and yet you still separate anyway because the grief is too great.The depiction here of Martha’s boyfriend Sean, played by Shia LaBeouf, is remarkably simplistic and one note. He cries a little bit but he’s mostly filled with blind rage. In one scene, not long after the incident at the beginning, he bullies his girlfriend into trying to have sex. They’re sitting on the couch and he grabs her hand and puts it on his penis. And then even though she isn’t physically or emotionally ready, forces himself on her. It’s essentially a rape scene.As well as being a rapist asshole, Sean is also a complete moron. In one scene he spews the following toe-curling line: ‘Why are you trying to disappear my child?’ This is in response to his girlfriend trying to take apart the baby’s room. Who talks like this? Did he suddenly turn into Yoda? And Sean then goes on to say that he ‘misses’ his child? You mean the child that was alive for about ten seconds and the child that you loved so much you had to crack out your film camera for? You might be sad that your child didn’t get to live. You might wonder what kind of amazing future your child might have had if circumstances had been different. But you miss them? It’s like what someone would say if they’re trying to convince themselves they have emotions.After this nonsense, Sean begins an affair with Martha’s cousin, who, would you believe it, is a lawyer who’s going to represent Martha in court. Why are Sean and Martha’s cousin doing this? Couples fall apart after trauma for a variety of reasons. Why reduce it to some soap opera level bullshit? Him and the cousin even start doing some coke after they have sex in her office, which is tacky as fuck.I also find the depiction of the cousin completely unbelievable. She’s dowdy and shy looking and yet she’s supposed to be some fearsome lawyer. She also keeps on spouting disgusting shit about how the midwife must pay.But back to Sean’s character. There was one scene of domestic abuse that was so over the top and ripe with student-level symbolism that I couldn’t help but laugh. Martha has gone out to a club and flirted with a man to communicate her intense suffering. Because this is what always has to happen in films of this ilk. It’s not enough to just suffer. People have to suffer beautifully while flirting with other beautiful people because they’re so damn sad. And then she comes home to her boyfriend and they get into an argument. She’s smoking on the couch and he throws a yoga ball in her face. She doesn’t say a thing. She doesn’t even look mad. She just stubs out the cigarette on the sofa (to communicate her smouldering rage) while her feet rest on the deflating yoga ball (to communicate that she’s sinking) as withered plants and flowers surround her (to communicate the death of their relationship). We then cut to a shot of an unfinished bridge (to communicate the gulf that exists between them). All of this happens in about twenty seconds. You couldn’t lay it on thicker if you tried.But Sean isn’t even the most heinous character in this movie. That dubious distinction would go to Martha’s mother played by Ellen Burstyn. At first she seems like a harmless rich old lady. She even buys Martha and Sean a new car. But as the film develops we see what a bitter, twisted old fuck she is. Everything that has happened is the fault of the midwife, and the midwife must pay for her mistakes. Because isn’t that what rich people do? Rather than look at things from every perspective; rather than accept the complexity of life, there always has to be someone to blame when things don’t go the way they want. Because they’re rich. Nothing bad is meant to happen to rich people. Infant deaths and things of that nature only exist in the realm of the poor. So it must be the midwife’s fault. And she must go to jail because I don’t get to hold MY granddaughter.In one scene Martha’s mother relates her strength of character. She says how she was born during the Second World War and how her mother would have to scrounge for food in order to survive. She barely had enough food to produce milk. In fact, people told her to get rid of the baby; that the baby wasn’t going to make it. But then to prove her strength, she held the baby upside down and the baby raised her head. Martha’s mother tells this story as a pep talk. What? So if I was an underfed baby and I still had the strength to raise my head, you should be able to get over your grief? That’s bonkers.And Martha’s mother relates this story like she can personally remember it. Like she can remember being that baby. She doesn’t tell it like ‘my mother told me I raised my head’. No, it’s like she can remember being a few weeks old, which of course is complete and utter horseshit. It also speaks to a deeper, most insidious attitude in general. Well, if I can overcome malnutrition why can’t all those starving children in Ethiopia too? Well, if I can become stinking rich why can’t all these poor people as well? If only people would pull themselves up by their bootstraps like me.To further illustrate this woman’s character, or lack thereof, she solves the problem of Martha’s boyfriend Sean by throwing money at him. Sean has a pretty good job so how much money would it cost to make him disappear? $10,000? $50,000? $200,000? I’m guessing it’s a bonkers amount, seeing as the check does the intended job. But again, how disgusting is this person? People are just objects or problems to be dealt with and disposed of.Despite this, once the trial is over, we’re again meant to feel warm and fuzzy when Martha has dinner with her mother at some fancy restaurant. Martha’s mother is becoming forgetful but Martha sympathetically holds her hand. Am I meant to give a shit? I hope her mother forgets everything. I hope she forgets about her daughter. I hope she forgets herself. I hope she forgets every fond memory in her head. But most of all, I hope she doesn’t get to enjoy her granddaughter.
