Courtney Hope Thérond has routinely proven herself a cunning filmmaker, one who can deliver the rawness of intimate human interaction in a closed space. Her last short film, The Dress You Have On, tackled a relationship dilemma in one bedroom, where two women faced off on their long term relationship’s core transition. With her new 8 minute drama, Rehearsal, Thérond is not just treading in delicate waters again, but making a real splash. If you missed Rehearsal at the London Film Festival, I would recommend you add it to your watchlist and make sure you catch it next time around.
Rehearsal is a relevant, candid portrayal of such clandestine scenarios – though I bet there are many crude rehearsals like this in every corner of the film world. Held together by the rousing Jessica Mendez Siqueiros as a young woman placed in a compromising position from should have been a straight forward acting session. Set in the one room, apart from a car exterior shot (pretty much like The Dress You Have On), Rehearsal amply shows how much a woman’s dignity can be so blatantly stripped in such close quarters.
Interview with Courtney Hope Thérond on The Dress You Have On
The short film opens with casually dressed filmmaker, Jared (Alexander Chard), having a quick tidy up, making sure the bed is made nicely. It’s an ground level apartment, or a motel room, though it might as well be a hotel room, right, given the recent climate expositions in Hollywood? That said, without hindsight, or perhaps even with it, these opening seconds don’t appear sleazy or off-handed.
The scene is set, then, for a run-of-the-mill rehearsal between two actors. Ana (Mendez Siqueiros) being one, and the other is James (Clinton Lowe). As well as the director, there’s the cameraphone person, Will (Alex Portenko), who will capture the gist of the rehearsal once he’s had a sip of his to-go coffee. That ever-so-thin layer of unprofessionalism is signified by the shabby location and the distinct lack of film equipment, but it’s a fairly relaxed atmosphere. They seem to know each other, and why they are here, and are generally chatty prior to the rehearsal. What fun.
Even before those spontaneous rehearsal instructions begin, there is a casual, ever so slightly playful, discourse. In the opening actions of the session, Ana and James do a quick bout of pretend air kissing like kids would without actually touching. “Now he’ll go down on you.” the director says matter-of-factly. Great. Ana sits on the bed, legs open a little, and James gets to his knees. I mean, she’s wearing jeans, he is not really going to go down on her. Ana even asks: “So I put him under my dress?”
As Ana guides James towards her crotch, his “Ooh, aggressive.” comment is one such itsy cue towards inappropriateness. On her back, Ana, for the first time noticeably has a moment to reflect. Will moves her head slightly so her face is clearer in his imperative frameline. I’m sure she can move her own head, but no alarms bells sounding.
LFF Review: Our Ladies
Ana’s smile has certainly faded, or at least it becomes harder to form, especially as the actress is caught unawares of having to actually take off her top. She didn’t think James was actually going to start to undress her now. He didn’t pull her jeans off and get busy in the previous moment. Ana is clearly surprised, and mentions that she is not wearing a bra. “That’s okay.” Jared responds. Yeah, Ana, it’s okay, these three guys don’t mind seeing your bare boobs.
Ana’s declaration of her braless status was not intended as part of a fucking sartorial checklist. This is Ana is waving a tiny little flag that this could perhaps be extremely uncomfortable for her. Not to mention actually going topless was not on the cards. I’m surprised Jared didn’t also add “Don’t worry, James is topless too.” though James does joke “I’m not wearing a bra either.” This guy has wit, I bet Ana feels better already.
A line has been crossed here, though, no matter how you choose to look at it. I have little doubt that Jared, James and Will only have good intentions for the film they are making, but that doesn’t make their passive neglect of Ana’s privacy any less plausible. And once these seeds are planted it’s a little late to simply ask her what she thinks. Ethics, and what would only have been a tad of human decency required, have gone out the window.
Ana is certainly not cornered, though she is outnumbered for sure, but the barrier has already been broken. The rehearsal continues, with little assurance as to whether her boobs will be in the frame or not. James, the actor, is also very hands on. His improv move in having his character flip the topless Ana onto him to straddle her was certainly not in good taste. More so, that she is obviously still coming to terms with her unexpected exposure, already past the point of no return in terms of her journey through vulnerability.
Courtney Hope Thérond wins the Directing Prize at FemmeFilmFest
As Ana, Jessica Mendez Siqueiros is remarkable. In the midst of this claustrophobic realm of what ought to have been a basic film rehearsal, Mendez Siqueiros births the awkward and the invasion of personal space with every eye motion, false smile and anxious posture. It’s a subtly striking performance, which captures the embarrassment and violation a woman in this position would feel – which still ranks as affecting to a male review such as I.
As she showed so deftly in The Dress You Have On, writer-director Courtney Hope Thérond works marvelously with actors as well as creating an unwieldly ambiance on screen. She shows the cultural variances in gender, without throttling us with it as though synchronizing with the #MeToo movement.
The way the men hug, bro handshake and fist bump each other shows a shifty comradery in light of what Ana has just experienced. Even once the rehearsal is done, James half-invites Ana’s friend to the set. Ana awkwardly responds that it is not her thing. Indeed. James gyrating slightly during their parting hug is a little gross too.
The Mendez Siqueiros / Thérond combo shines brightest in the final frame. You can feel the tension even stronger when Ana is left alone to sit in her car and ponder on the ordeal. Dented in confidence and esteem no doubt, but also left emotionally naked and fragile. That strong sensation of impressionable aftermath, and the yearning to be cleansed of it, is captured so realistically it is going to strike a chord with many.
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