Vaginal bleeding plays a powerful supporting role in Alex Thompson’s “Saint Frances”, not surprisingly in a film that has deeply invested in the daily joys and sorrows of being a woman.
Covering a difficult and transformative summer in the life of an dissatisfied waitress named Bridget (played by the film’s writer, Kelly O’Sullivan), the film gently questions our assumptions about what constitutes female success. At 34, Bridget fears that time is running out to find a career, find a life partner and, most importantly, have children. She’s not sure she wants these things, she just knows she should want them. Her parents gloomily conjure up her aging womb, and her younger, more relaxed lover (Max Lipchitz) wonders why she refuses to define their connection as a relationship.
Then, almost simultaneously, she made a major decision and was hired by a mixed race lesbian couple (Charin Alvarez and Lily Mojekwu) as nanny to Frances (Ramona Edith-Williams), their precocious six year old child. Initially a rather inept caregiver, Bridget gradually warms up to her live load and to her stressed employers. Most importantly, she begins to make peace with herself.
With a warm heart and a non-judgmental spirit, “Saint Frances” weaves abortion, homosexual parenting and postpartum depression in a story brimming with positivity and acceptance. Some scenes may seem forced and even a bit hectorantes (like when a nursing mother is verbally attacked in a public park). Others, however, are so modestly insightful – and artists so attractive and natural – that we forgive the occasional heavy hand. Bridget’s bond with the family seems organic and restorative, the film arguing that the family is wherever you find it. And if Bridget still lacks direction, it may be because she no longer needs it.
Saint Frances
Unclassified. Duration: 1 hour 46 minutes.
