(2020) Drama (Breaking Glass) Geraldine Hakewill, Mark Leonard Winter, Matilda Ridgway, Tom Wren, Greg Stone, Kieran Cochrane, Lucy McMurray. Directed by Michael Bentham
When it comes to our children, we are enormously protective. We believe in them, sometimes even against all evidence or logic; we give them the benefit of the doubt. When one child accuses another of a heinous act, the battle lines are drawn immediately and ferociously.
In this Australian drama (not to be confused with the 1994 Demi Moore/Michael Douglas erotic thriller nor the two other films – one a Netflix documentary on transgenders in cinema – with the same title coming out in 2020) we meet Danny (Winter) and Emily (Ridgway) Bowman. He’s a journalist, she’s a documentary filmmaker. When we first meet them, they are having sex and filming it. Flash forward a few years and we are in the home of Joel (Wren) and Bek (Hakewill) Chalmers. Joel is a local politician on the rise; she’s on the phone, obviously busy and harassed when we hear a piercing child’s scream coming from the bedroom. Distracted, she walks over to the room, warns her son Ethan to “leave the little ones alone” and sends him outside to play. She leaves, still on the phone. Ethan doesn’t emerge, but there’s an ominous silence coming from the room.
A few weeks later, Danny and Emily are skinny dipping in their backyard pool when Joel and Bek show up unexpectedly at their door, with Joel’s bodyguard (Stone) in tow. There is tension between the two couples, who have been close friends up to now and we soon find out why. The four-year-old daughter of Danny and Emily has told them that Ethan, the nine-year-old son of Joel and Bek, has done something terrible (and presumably, sexual) to her. Tom and Bek are there to plead with the Bowmans to take Ethan’s name out of the paperwork; Danny and Emily want Ethan to be seen by a therapist. Bek is particularly adamant against it – Ethan has denied the girl’s account. Bek, who suffered serial sexual abuse as a child, is particularly sensitive about the accusation. Emily is horrified that Bek doesn’t believe her daughter.
The discussions go from civilized to strained to frantic to violent as both couples stand their ground in defense of their kids. As things devolve, we get the sense that there is an awful lot of adult baggage being dragged into the argument which is, ostensibly, supposed to be about the welfare of their children.
This is an emotional film which only grows more so. At first, it is the women who react emotionally and, to a certain extent, non-logically. The men seem to be calmer and more conciliatory, wanting to work things out without damaging the friendship the two couples have built. The women are willing to burn the mofo right to the ground.
First time filmmaker Bentham has a good eye, contrasting the rural/suburban idyllic neighborhood, studded with pools and lush greenery with the ugliness of the innuendo cast in both directions by the parents whose civility slowly goes out the window over the course of the film. Hakewill in particular, playing the brittle and shrill Bek, does a marvelous job although all of the other main performers do a crackerjack job as well.
The ending was a little bit of a letdown; Bentham had played things straight pretty much throughout but there’s an almost comedic element to the denouement that doesn’t jive with the rest of the film; I was left wondering if it was meant to be symbolic of something (which I don’t want to get into so as not to spoil it) and in the end, decided that it was, but you may disagree and that’s perfectly legitimate.
This reminded me strongly of Roman Polanski’s 2011 filmed version of the Yasmina Reza stage play, with a sexual element added. That film had a more stage-y quality to it, although there are moments where this feels like it might have been based on a play as well. It is nevertheless an impressive work that has floated under the radar, but deserves far more attention than it has gotten to date (there isn’t even a page on Rotten Tomatoes for the film). For those film buffs still in quarantine looking for something different, this is one to keep in mind. It’s out on VOD now; it can be purchased on Blu-Ray next Tuesday (go to the film’s page to find out where it will be available in the U.S.).
REASONS TO SEE: Covers a wrenching topic from both points of view. Uses thriller tropes to tell a dramatic story.
REASONS TO AVOID: The ending is a bit awkward and unsatisfying.
FAMILY VALUES: There is graphic sex, brief nudity, plenty of profanity and uncomfortable sexual situations.
TRIVIAL PURSUIT: This is Bentham’s debut feature.
BEYOND THE THEATER: AppleTV, Fandango Now, Vimeo, Vudu
CRITICAL MASS: As of 7/2/20: Rotten Tomatoes: No score yet; Metacritic: No score yet.
COMPARISON SHOPPING: Carnage
FINAL RATING: 7.5/10
NEXT: Denise Ho: Becoming the Song