Into the Forest

Isolated ingenuity, embowered seclusion, 2 sisters living together in the West Coast woods far from town must learn to survive after the North American power grid suddenly shuts down, permanently, in Patricia Rozema's Into the Forest.

Feminine fortitude.

There's no fear, no frequent unprovoked breakdowns, in fact the film seems too sober and logical after their father (Callum Keith Rennie as Robert) dies and the grieving ends after a brief period of intense sorrow.

It's a matter of timing, the film divided into temporal segments which narrativize specific incidents yet leave out inquisitive aspects which leave you wondering why they chose to stay in the woods and why they weren't more curious about was happening in the world?

Such questions are entertained but they aren't examined at length, as they would have been if the story didn't jump ahead so often, which I found odd considering their circumstances and the massive destabilizing continental paradigm shifts enveloping them.

They can't find any information and there's no one else to talk to besides a partner (Max Minghella as Eli) who arrives for a short stay to state that no one really knows anything in town either, and game changing decisions are behind made based on conjecture, which moderately heightens end of the world tensions by acknowledging that communication networks and associated cross-references no longer exist, but the film remains deep in the woods so none of these convolutions can be explored.

Nevertheless, Into the Forest challenges gender stereotypes as Nell (Ellen Page) and Eva (Evan Rachel Wood) pioneer it hardcore.

Their survival skills were actually significantly enhanced precisely at the moment where I started to think the film was going to ignore such progressive potential.

If you've ever worked in the bush you know women can do anything men can, often with less complaining, and more team building enthusiasm.

Nell learns to hunt, forage, use ropes to hide food in trees so bears have a much harder time getting at it, and Eva learns to chop wood.

Eva's raped while doing so, a terrifying moment which speaks to the worst in men, i.e., as women begin to prove that they are capable of doing the work stereotypically ascribed to men, the worst men violently assault them to belittle and degrade their genuine badass accomplishments.

As Nell and Eva slowly realize they don't want to live their lives botanically bushwhacking, their dwelling gradually collapses, the last sign of the postmodern world, reclaimed once again by environmental inevitabilities.

Thought the film shouldn't have skipped Winter, left out some relevant discussions, and missed out on incredible cinematographic opportunities (see Sleeping Giant), but Into the Woods still aptly disintegrates gender stereotypes with regenerative pluck and expedient resiliency, transitioning from one epoch to the next, wherein every moment defines adventure.

Risk.

Synergistic sisterhood.

The nebulous sublime.