previously published on Cineuropa
There is a theory that every little choice we make could potentially change our lives completely, but in practice, all of the decisions can lead to pretty much the same outcome. For Barbara, the heroine of Freddy Macdonald’s feature debut, Sew Torn, showing on the Piazza Grande at Locarno, this would equate to different types of death, as we see them in an elegantly shot opening montage sequence. This premise is not all that new – we will remember films ranging from Tom Tykwer’s Run Lola Run to those that actually mimic video-game logic, and the same goes for the approach adopted, which runs along the same lines as the Coen brothers’ earlier works. Nevertheless, this combination might sit well with wider audiences at festivals (the film actually world-premiered at SXSW), in regular theatrical distribution and, later, on VoD platforms.
Barbara (Eve Connolly, best known for her roles in the series Into the Badlands and Vikings) is a seamstress who operates the shop she inherited from her late mother in a village in the mountains. There is not much work to do, and the still-grieving Barbara is not highly motivated to do it either, but when she gets a call from elderly bride Grace (Caroline Goodall), asking her to mend her dress for her third wedding, she heads to her place. Since Grace is quite a pest of a client, Barbara makes a mistake and loses a button, so she has to go back to fetch a new one.
On her way back to her shop, she witnesses something that will change her life. What initially seems like a traffic accident is actually a drug deal gone wrong, which involves courier Beck (Thomas Douglas) and the local mobster’s reluctant son, Josh (Calum Worthy). Barbara has three choices: to use her particular set of skills as a seamstress to commit the perfect crime, to call the police or to simply drive away. However, in any of these situations, mobster Hudson Armitage (the seasoned John Lynch) will soon enter the scene…
The film’s lightweight quirkiness in most aspects is probably its biggest trump card. This world – which looks like the Swiss Alps (where it was actually shot) but is populated by Irish actors, is pastel-coloured and is filled with strange knick-knacks, such as portraits accompanied by a voice which is activated by a switch in the guise of a needle or thread – is definitely something we do not see in the movies every day. It also serves as a reminder of the talent of Viviane Rapp, who acted as both production and costume designer here, and of Macdonald’s sense for including strange little details in the bigger picture. Macdonald should also be commended for his work as his own editor, as he proves focused enough to filter out ideas with a noticeable amount of determination.
As for the acting, Eve Conolly could turn out to be a revelation, especially for parts that require versatility but not great nuance, so that any transformations can be applied quickly and instinctively. On the other hand, John Lynch is still the “MVP” of the film thanks to his sheer threatening presence, which remains sinister, even when we catch him peddling the same, corny joke for the third time. Meanwhile, the others have bit roles that they are instructed to approach in a more or less cartoonish way.
All of this is sufficient to make Sew Torn a fun movie and a pleasant viewing experience. Clearly, it is not a masterpiece in any way, but Macdonald has proven himself to be capable of executing a proper crowd-pleaser.