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GrowingPains:LucileHadzihalilovicsquot;Innocencequot;byMichaelKoresky(October17,2005)[indieWIREsweeklyreviewsarewrittenbycriticsfromReverseShot.]InLucileHadzihalilovicsquot;Innocencequot;nostalgiaanddreadbecomeone--anditsaperfectlywelcomesymbiosis.Aremarkablesustainedallegory,quot;Innocencequot;luxuriatesinthekindofsymbolicimageryonewouldassociatemostlywiththefantasticworldsofchildrensfiction,butwiththewherewithaltoacknowledgetheinherentrotandsinisterunderpinningsproppingthemup.ToapplaudHadzihalilovicfordiscoveringorrevealingthesexualdiscourseroilingbelowthesurfaceofacceptedtropesandnarrativesofpreadolescentfantasyistodenythesubtleevocationofburgeoningsexualityinquot;PeterPan,quot;quot;AliceinWonderland,quot;andanynumberofgrimGrimmtales.ButwhatHadzihalilovictapsintoissoprimalandessential,bothintermsofmythologyandsociology,thathervisioncanstandonitsown.Atonceafeministparableandabedtimestory,quot;Innocencequot;unfoldslikeacrouchinganimal,waitingtopounce.MuchlikeMichaelHanekesupcomingquot;Cachequot;setsupgenericparametersinordertoconfoundandthendemolishyourexpectationssurroundingthewordquot;thriller,quot;quot;Innocencequot;opensasmanyaquot;childrensfablequot;might,aslightlymoretwistedbutsimilarlydisorientingversionofaFrancesHodgsonBurnettnovel.Yetbylargelyrefutinganyeasyexplanationorconcretelogisticalmotivationforhersurreallittlegirlsnetherworld,Hadzihalilovicproblematizestheimageryofgirlhoodfictions.TheresalreadybeenasmatteringofcriticismaboutHadzihalilovicsprovocations,whichtendtowardapenetratingcameragazethatglidesoverherlittlegirlspreformedbodieswithanodderoticabandon.Yetthedirector,thewifeofextremeFrenchpulse-pounderGasparNoeandeditorofNoesexcoriatingtragedy,quot;IStandAlone,quot;whichalsocastaqueasyglanceatthesuggestionofpedophilia,bothintermsofcharacterandaudience,ensuresthathere,allthestuffofgirlhood,whenbathedinshadow,takesonanefariousundertone:hairribbons,hula-hoops,pressedandstarchedwhitepinafores.Toacceptthisimageryonitsown,quot;innocentquot;termsasadultviewers,Hadzihalilovicseemstosay,istodenyitsfetishisticdraw.Everytinydetailofpremenstrualritualhereexistsinanenclosedrealmofmetaphor,aclaustrophobicsurrealitythatdoesntallowforintuitionorindependence.Ofcourse,noonewouldassumethattheywereinquot;AnneofGreenGablesquot;territoryfromtheopeningframes,which,accompaniedbyarumbling,quiveringsoundtrack,putforthadelugeofwaterimageryandthenasuddenrebirth:little6-year-oldIris(ZoeAuclair)arrivesatagothicboardingschoolforgirlsviacoffin.Whenreleasedfromhertinywoodenbox,thoroughlydisoriented,shefindsherselfsurroundedbysimilarlyyounggirls,varyinginagesfrom6to12.quot;Whatisthisplace?quot;Irisasksinthatconfusedyetthoroughlymatter-of-factmannerasinthelogicofadream.quot;Home,quot;answersherelderandcaretaker,12-year-oldBianca(BerangereHaubruge).Fromthispointon,therulesoftheboardingschool--alabyrinthoflamplightedforesttrails,undergroundcaverns,oddlynumbereddoors,andoff-limitlockedrooms--dictatetheparametersofreality.Oddoccurrencesabound,anditsbestjusttoacceptthem:Theeldestgirlleavesmysteriouslyeverynightat9p.m.downthedimlylitforesttrailbeforereturninginthemorning;everygirlisforcedtotakeballetlessonsinpreparationfortheyear-endshow,whichseemstobethestudentssonlyfinalquot;examquot;;theabsentbutlegendaryheadmistressappearsonceayeartochooseablue-ribbonedgirltotakeawaywithhertoGodknowswhere.Toquestionanyofthisistorejecttheaphorismquot;Obedienceistheonlypathtohappiness,quot;whichheresupercedesindependentthought.Yetthisisnomerefableoftotalitarianoppressionandmilitaryregime;thesegirlsarebeingprimedforafarmoregender-specificsocialconformity.Iftheresnoliteralanswertowhatthatisexactly,thenHadzihalilovicsallegoricalheftmorethanfillsinthegaps.Hergreatestvisualandmetaphoricalcreationcomesattheclimaxduringthefinalperformanceoftheballet.Thoughthegirlshavebeenworkingtowardsthismoment,theyhadntrealizedthattheyweregoingtobedancinginfrontofanaudience.Inthegrandioseyethushedanddarkenedtheater,thegirlsdance,accompaniedbyaninnocuouspianotunethathaslongsincebecomeasignifierofsomeimminentdread.YetwhenHadzihaliloviccutsbacktoshowwhoswatchingthecostumedandposinggirls,allweseeareadultfiguresinsilhouette.Then,aroseistossedontothestage,accompaniedbyalow-registermalevoice.Suddenlyitallcrystallizes:inthedarknesstheantagonistofthisabstractednarrativeisspotlighted,andhesoutthere,waitinginthewings.[MichaelKoreskyisco-founderandeditorofReverseShot,aswellasaneditoratInterviewmagazineandfrequentcontributorofFilmComment.]Take2ByLaurenKaminskyPubertytendstosneakuponinnocents.ThegreatestvictoryofLucileHadzihalilovicsfirstfeatureisthatitperfectlycapturesthesuspenseofthisadolescentanticipation,givingtheviewertheperspectiveoftheinnocentgraspingforcluesthateveryoneelseseemstoknowalready.Theeffectisfascinatingandfrustrating,andinhindsightthefilmstitleseemstoconnotemorenaivetethanpurity,sincemuchofthedramatictensioninthefilmcomesfromthistoneofpowerlessness,impatience,anddread.WeentertheprepubescentworldofthefilmalongwithlittleIris,themostrecentarrivaltothismysteriousorphanagesealedofffromtheadultworld.Manylongminutespassbeforeagrownwomanentersthepicture;untilthen,werelyontheoldergirlstoteachustheunwrittenrules.Wehavenochoicebuttobelievethem,andourconfidenceisbolsteredbytheseriousnesswithwhichtheytakethemselves.Theselittlegirlsinmatchingwhitepinaforesandpigtailsexhibitmomentsoflightheartedplaybuttheirmoodisearnestandsolemn,andthereissomethingsinisteraboutthesechildren,whoareatonceinnocentandadult.Visually,quot;Innocencequot;isaHenryDargerwatercolorcometolife.Thegirlslooklikewell-heeled,cherubicchildmodelsliftedoutofprintadsandplacedinaforest,outofcontextandobjectifiedastheydanceinthewoods,orstriptotheirpantiestoswimintheriver,orleadeachotheraroundhandinhand,unsupervised.Onestunningscene(beforethefilmresignsitselftoafeel-goodresolution)showssomeoftheolder,almost-pubescentgirlsdancinginshortskirtsanddiaphanousbutterflywingslikesomanyquot;VivianGirls.quot;LikeDargersartwork,thissceneisuncomfortableandprovocativepreciselybecauseweknowthattheyrebeingeroticizedandtheydont.[LaurenKaminskyisaReverseShotstaffwriter.]Take3byMichaelJoshuaRowinquot;Innocencequot;isallabouttransformation--throughtheseasons,throughrituals,throughtheentranceintowomanhood.ThequestionconcerningLucileHadzihalilovicsbolddebutiswhetherthesetransformationsresultinspiritualrewardsorelsehollowignorance.Itsdifficulttotell.For110ofquot;Innocencequot;s115minutesweretreatedtooneofthecreepiestfablescommittedtocelluloid:arisingfromasmall,woodencoffin(asinMasonicrites,asymbolofrebirth),ayounggirl,Iris,isimmediatelyintroducedtoastrangeorderataremoteschool.Thepurposeofthisschool,whichconsistsofyounggirlsinmatchingwhiteuniformsandcolor-codedhairribbons,remainsatfirstvaguelydefinedasthegirlsfrolicinidyllicforestsandstudyunderthestricttutelageofbeautifulballetteachers.OnceIrisandanoldergirlsheadmires,Bianca,setouttodiscoverthesecretsoftheirquot;home,quot;Hadzihalilovicunspoolsherfilmasasinisterfairytale.Whilequot;Innocencequot;initiallyportendsaweakparableontotalitariancontrolviafear,asinlastyearsquot;TheVillage,quot;thefilmsgothicrootsinFrankWedekindsGermanexpressionistsourcematerial(no,Ihaventreaditeither)quicklytakefirmholdandneverletgo.Thisisoneofthemostgenuinelyeeriefilmsinrecentyears--scenesinwhichgirlsinbutterflycostumes(thesedelicateinsectsareusedtoinstructonbodilychanges)performbeforeanunseen,almostentirelysilentaudiencerecallthenightmarishdreadofoneofquot;TheDiscreetCharmoftheBourgeoisiequot;sdinnersequences.Onlytheresnosatiretodeflecttheuneasehere,aswhisperingsoundscapesandBenoitDebieslushcinematographycreateahyperrealmockeryofsocietaladaptabilitybeyondthereachesofourreasonbutwithinrangeofourpiquedintuition.Whenquot;Innocencequot;concludesonanoteofseemingjoyand,indeed,positiveentryintotheadultworld,onehastowonder:areHadzihalilovicsownvisionstoomuchforhertofollowtothebitterend?AllIknowisthat98%ofquot;Innocencequot;isoneofthisyearsvitalfilms.[MichaelJoshuaRowinisastaffwriteratReverseShot.HehaswrittenfortheIndependent,FilmComment,andrunstheblogHopelessAbandon.](postedonOct17,2005at03:49PM|filedunderLeadStory,Reviews,WorldCinema)