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Annie, Shelley, Audrey and Donna gather at Norma’s diner to discuss these verses: I thought about Shelley’s poem this summer while on vacation in the Pacific Northwest.The mountains do kiss high heaven and the waves do clasp one another, a living 3D Sensurround cinema experience that perhaps we can forget watching films on a screen in the dark.
It was a film I watched on the flight from London: thanks to Air Canada’s policy of supporting Canadian filmmakers, I was able to catch a festival hit from last year that never obtained UK distribution, despite astounding central performances by Ellen Page and Evan Rachel Wood as sisters Nell and Eva.
A story of slow apocalypse, not only makes nods to David Lynch and Mark Frost’s eerie tale of murderous white male misogyny in the PNW, it also offers a northern boreal take on one of the other (less critically-acclaimed) obsessions of my schooldays: (Randal Kleiser, 1980), starring a fifteen-year old Brooke Shields in a role that featured nudity, barely-consensual incestuous sex, pregnancy, and giving birth to a child conceived with her brother. , Nell and Eva are isolated from human society by the failure of the national (or possibly global) electrical grid.
There’s no going back, even though the flickering light of the flames in the long windows make it look as if as if Nell’s oft-repeated tic of instructing the house computer system, “Lights on! If there’s anywhere further that Rozema’s film could go, it’s by taking down that Romantic position of White Man contemplating Sublime Nature whirling around him.
Into the Forest may be a feminist fairy-tale, but it still sets up two white women as the new natives of the Northwest – not unlike the Robinson Crusoe-esque fantasy of , as Geoff Bil has analyzed .
The main theme is that of the "connection" that exists between all things in the world in general and between the poet and his object of affection in particular. This unity is also found in human relationships and interactions.
The poetic devices Shelley uses in the poem include Personification (Fountains mingle with the river; Winds of heaven mix forever with a sweet emotion; The mountains kiss high heaven; The waves clasp one another; Moonbeams kiss the sea), Metaphor (No sister flower could be forgiven if it disdained its brother), and the Rhetorical question (If thou kiss not me? The fountains mingle with the river, And the rivers with the ocean; The winds of heaven mix forever With a sweet emotion; Nothing in the world is single; All things by a law divine In one another's being mingle- Why not I with thine?
In the early days of the power outage, they and their father Robert (Callum Keith Rennie) manage to start up the truck and drive into town, but after Robert’s death early on–felled by the same chainsaw he used to start the burnt-out motor – the sisters are all alone in the cedar-shingled Modernist glass box of a house where they grew up.
Yet by the end of the film, they are not: Eva (as her name implies) has a child. Magic realist love stories, full of baroque flourishes and circus tricks, they were fleshed-out Angela Carter or Isabel Allende novels.
Through sickness and dark nights of doubt and fear, she remained faithful to God, rooted in His merciful love.
After a long struggle with tuberculosis, she died on September 30, 1897, at the age of 24.