By Robert Bellissimo
Fellini’s “8 1/2” has inspired so many filmmakers, that some have even tried to make their own version of it. From Paul Mazursky’s Alex In Wonderland (1970), to Woody Allen’s Stardust Memories, to Abel Ferrara’s Dangerous Game (also known as Snake Eyes), among others.
In Seven Veils, however, the main character isn’t a filmmaker; She’s a theatre director turned Opera Director. Jeanine (beautifully played by Amanda Seyfried) is directing the opera version of “Salome”, in which she performed in several years earlier with her Father. As the film progresses, we find out that this production was chaotic, to say the least, but why ? The difference with Jeanine, as opposed to Guido in “8 1/2”, is she wants to now direct “Salome”, so that she can have a cathartic experience. She wants to confront her past and express it, where Guido finds confronting his past unbearable to do.
However, as she continues to direct the opera, she finds that it’s a lot harder to bear than she thought. Traumatic images flood her mind, which strongly suggests that her father had sexual feelings for her, and that she didn’t consent to the way she was touched while performing in “Salome” years ago.
The director of that particular production has since passed away and she is creating a diary of her experience doing the play again and talking to him. It appears that she was in love him, which adds a layer of complexity, since she is now married with a child, but seems hung up on her former lover. The way the film cuts from past to present is seemless. Every theme it explores, such as sexual assault, consent, creativity, trauma, among others, is deeply felt.
I am conflicted about the necessity of the films subplots. Clea (well played by Rebecca Liddiard) is the head of the prop department. She gets sexually assaulted by one of the cast members performing in “Salome” and eventually does something about it. Egoyan may have included this subplot to show the difference between the past and present since the “Me Too Movement”. Today, sexual harassment or assault is, fortunately, taken more seriously, whereas Jeanine didn’t feel she had anywhere to go when she was violated all those years ago.
The other subplot involves Jeanine and her husband, who we only see during their virtual conversations, since she is away directing “Salome”, while he is at home having an affair with her mother’s healthcare worker, which Jeanine is fine with. It’s possible that Egoyan included this to show that Jeanine doesn’t really love her husband because she is hung up on her former lover and seduces one of the understudies, but this is all already perfectly clear.
Egoyan has created a complex, rich character and narrative study of a woman confronting her past and expressing it, which is empowering and inspiring to see. May we all have the courage and bravery, as Jeanine does, to find a way to tackle our own demons.
Seven Veils is available in theatres on Friday, March 7th, 2025.
