The Severing is a film that really gets under your skin, like that feeling when you wake up at night and just can’t shake off a strange, heavy feeling. It’s a movie that don’t tell ya much in the regular way, like most films do. Nah, this one’s a whole different kettle of fish. It’s like a slow dance, one of them kind where you don’t know whether you’re supposed to be watching or just feelin’ it inside, deep down. They say it’s inspired by Wim Wenders’ Pina, but to be honest, it’s hard to explain exactly what it is. Some folks might say it’s too much to handle, but I reckon that’s part of the point.
The story ain’t like your usual one. There ain’t no clear beginning, middle, or end. It’s more like a puzzle, scattered around like pieces that only make sense once you’ve put ‘em together in your head. Directed by Mark Pellington, The Severing is about loss, grief, and all them big feelings that nobody wants to talk about but everyone’s carryin’ around. You see, the film don’t try to spoon-feed ya what’s happenin’. It’s like one of them abstract dances where you don’t always get what’s goin’ on, but you feel it in your bones.
Now, this here movie ain’t gonna be for everyone. I’ve seen some folks say it’s just too much for ‘em, calling it “interpretative dance at its most inaccessible.” But, well, I reckon that’s just how it goes sometimes. It don’t always have to be easy to understand. Sometimes it’s better when it ain’t, and makes ya think harder. Some say it’s a nightmare, a little strange and dark, but that’s what makes it bold, don’t it?
Now, let me tell ya, the folks in this film ain’t the usual Hollywood types. We got Danny Axley, Allison Fletcher, and Maija Knapp. They don’t just act, they dance their hearts out. The whole thing is choreographed by Nina McNeely, and let me tell ya, it ain’t the kind of dance you’re used to seeing at a fancy ball or anything. It’s raw, it’s emotional, and sometimes it don’t make no sense. But that’s the point, ain’t it? Life don’t always make sense, and neither does grief. You can’t always put a pretty bow on it.
The Severing might be Pellington’s most daring work yet. Some folks will love it, some won’t, but that’s what makes it stand out in a world full of same-old, same-old films. It’s a hard one to recommend to just anyone, ‘cause like I said, you gotta be ready to sit with the uncomfortable feelings it stirs up. But for them that can stomach it, I think it’s one of them movies you won’t forget, even if you don’t understand every little bit of it.
If you’re the type who likes a clear story with all the loose ends tied up nice and neat, well, The Severing might leave you feelin’ a bit lost. But for those who want somethin’ deeper, something that makes you feel more than just watchin’ a screen, this one might just do the trick. It’s like a big ol’ mirror, holdin’ it up to ya, and ya gotta decide if you wanna look into it or not.
In the end, The Severing ain’t the easiest film to love, but it sure is the bravest. It’s a movie that sticks with ya, makes ya think long after it’s over, even if you can’t quite say why. Sometimes, that’s the kind of art we need more of—stuff that challenges us, even when we don’t want it to. So, if you’re lookin’ for somethin’ different, somethin’ to shake up your world a little, this here film might be worth a watch. Just don’t expect it to hold your hand through it all.
Tags：[The Severing, movie review, Mark Pellington, dance movie, grief, abstract film, Nina McNeely, Danny Axley, Allison Fletcher, Maija Knapp, Wim Wenders, Pina, experimental film]
