By Shelby Armor

 

I recently volunteered at the Palm Springs International Film Festival. As a reward, I got a film voucher to go see one movie. A bunch of friends and I went to see a French film called Ava. It had previously won an award at the “Festival de Cannes.” The Palm Springs International Film Festival also gave it the “Best Director” award this year. Needless to say, I was pretty excited. We went into the movie knowing absolutely nothing about it. The only thing we knew about the movie was that it was of a girl who was slowly going blind and was desperate to explore life before she lost her vision.

The reality was slightly more complicated. This girl of 13 is indeed slowly going blind, but she’s dealing with nightmares and suicidal thoughts as a result. The movie starts by following a black dog belonging to a Spanish gypsy named Juan (Juan Cano). The girl, Ava (Noée Abita), sees how the boy is mistreating the dog and proceeds to steal the dog, whom she names Lupo. Along with all of this, she has a strained, love-hate relationship with her mother (Laure Calamy). The relationship grows even more strained when her mother gets a new boyfriend.

The movie is beautifully symbolic, making use of different objects and people throughout the film to represent the coming-of-age of Ava. At the beginning of the film, she is infatuated with the dog, Lupo, wanting to get him away from this bad man. But, as she begins maturing as a person, she becomes less and less interested in the dog, and more infatuated with Juan, his owner. Lupo also serves as a coping mechanism for her incoming blindness. She repeatedly uses him as a guide dog so she can rely on her other senses.

The movie itself is chock-full of symbols. And, if you’re not really paying attention, they can often fly by. There are times where I had to sit back and comprehend the literal and symbolic meaning of various scenes, as other scenes seemed somewhat random if you weren’t paying attention to what was going on inside Ava’s head. To get a better look of what was going on inside her head, there is a nightmare sequence, going through her deepest fears of the future. There are images of her baby sister without eyes, a giant eye moving around in her mouth, her mother and boyfriend (whom she dislikes), and the police shooting her baby sister. Each and every one of these flashing scenes makes her wake up in a cold sweat. However, only one thing has started to take the nightmares away.

As she becomes closer and closer with Juan, she forgets all about her fading vision. She starts focusing more on their relationship and less on what might happen when her vision fails her. The end of the movie is a freeze frame of her smiling at Juan, utterly content with life. This seems to indicate that the nightmares and suicidal thoughts are coming to an end now that she is with Juan.

But, there are problems with the movie as well. The first half of the movie is beautifully written and filled out. The cinematography is absolutely stunning, and the score is really captivating and quite elegant. By the second half, the tempo is starting to fade. The pace can seem somewhat rushed in comparison to the rest of the movie. To others who had watched the movie with me, this really bothered them. I didn’t really mind the sudden change of pace. It made sense to me that the change of pace was accompanied with the presence of Juan. But that might be part of the appeal of the movie to me; the entire film is subjective.

The film itself is made almost entirely of symbols and can be quite hard to follow if you aren’t really the type for these kinds of films. I would recommend this film to anyone who likes a provoking piece of cinema. If a film that really makes you think about the impact of each scene is thrilling to you, then this might be the film for you to see.

 

(Warning — there is mature content in the movie)

 

Editor: Claire Jenkins