Year:  2020

Director:  Sarah Portelli, Ivan Malekin

Release:  November 26, 2020

Distributor: Nexus Production Group

Running time: 101 minutes

Worth: $11.00
FilmInk rates movies out of $20 — the score indicates the amount we believe a ticket to the movie to be worth

Cast:
Clara Francesca Pagone, Naomi Said, Kelsey Gillis, Sarah Timm, Frank Fazio, Chris Dingli, Timothy McCown Reynolds

Intro:
...a unique look at contemporary relationships.

Interrupting boisterous and graphic sex scenes – the bright lighting and unblinking editing verging on pornography – with wildly dramatic outbursts, Sarah Portelli and Ivan Malekin’s ambitious relationship-drama, In Corpore, is told as four improvised vignettes, each story – in isolation with exception to the first and last pieces – offers a unique look at contemporary relationships.

The connective tissue shared by these stories is in their thematic tempo, with each story grappling with the repercussions of its leading players’ relationship quandaries: adultery, independence, monogamy, and sex-work.

This extravagance in themes makes for otherwise unwieldy viewing, most notably with heavy-handedness as each quartile reaches desperately for the melodramatic high note. A feat that, per the opening paragraph, persistently circles back to a vivid sexual-embrace that feels more like a celebration of sex-positivity than it does a meaningful motif.

However chalky, merit is present in the film’s casting of a talented and diverse array of actors; all of whom remain committed to the filmmakers’ improvised vision.

Find In Corpore at Lido at Home: https://athome.lidocinemas.com.au/film/in-corpore/

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  • Sarah Timm
    Sarah Timm
    18 November 2020 at 9:52 pm

    Thank you for the review. Just when I read „all of whom (the actors) remain committed to the filmmakers’ improvised vision.“ I felt like I wanted to make a statement, that the treatment and the way the directors and I were talking about IN CORPORE wasn’t as pornographic as it turned out and I am absolutely not committed to this vision. I was committing to tell a story about a Rosalie who cannot communicate her feelings and puts her anger into physical action, as sex. How you edit a movie at the end, how long do you show the improvised sex- scenes, how much nudity do you show, makes a huge difference. As actors we didn’t know about the camera ankles and how long they want to keep going, celebrating those scenes, which only had been one sentence in the treatment. I don’t know about how the other actors feel, but how can you know? I felt these filmmakers used me and we even had an argument ongoing for weeks. It’s disrespectful what they did and they even had a worse version I was going to sue them for. So no, I am NOT committed.

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