Singing the Bones
Drama, 88 minutes, Colour, Canada, 2001
are the stories of three generations of women, brought together by a single
birth.. Meg, the midwife, is visited by haunting dreams just as she takes
on a new client. The mother, pregnant with twins and scarred by past traumas
at the hands of modern medicine, "absolutely wants a home birth".
Dr. Sara Bienemann, the compassionate obstetrician from Europe whose "secrets
are leaking from every pocket", warns of dangerous complications.
When the mother's vulnerability in hospital becomes apparent, all three
women must discover: Is one woman's choice worth the chance that her babies
As tension escalates over the mother's choice to birth at home, Meg's
dreams are haunted by images of another life. Dr. Sara, whose experience
as a child survivor of The Holocaust is buried with the family she lost,
sees her own mother in the face of the passionate midwife. On the night
of the birth, the mother's choice, Dr. Sara's secret and Meg's dreams
collide. In this window between the worlds of life and death, Dr. Sara's
confrontation with the painful memories of her past opens her heart, and
she creates the possibility of a miracle, of "something small"
beginning to change in the world.
Singing The Bones breaks new ground
in filmmaking. Visual artist/Director Gordon Halloran experiments with
the tradition of storytelling through the use of one actor in the principal
roles, and the relationship between the camera and the storyteller. Halloran's
filmic pallette is the lush visuals of British Columbia's Sunshine Coast,
a haunting soundscape, a stunning score -- combined with gutsy performances
by the actress who brought audiences to their feet on two continents.
Using all this, with voice over and direct address to the camera, Halloran
creates a completely different filmic experience: emotional, edgy, captivating