Fleeing and motherhood are dual crosses to bear in this powerful TIFF Platform entry from Spain, The Rye Horn (O Corno) by Jaione Camborda.
In The Rye Horn, the shapeshifting second feature from Spanish filmmaker Jaione Camborda, presented in a world premiere at the 48th Toronto International Film Festival’s prestigious Platform program, which was previously topped by Pablo Larraín’s Jackie, Pietro Marcello’s Martin Eden, and Indonesia’s Kamila Andini for Yuni, and set to compete for Golden Shell at San Sebastian International Film Festival, is a striking and powerful drama that isn’t only questing about how to be (or not to be) a mother but also shares a strong sense of sisterhood in a small Galician village and all the way to Portugal.
Set in Illa de Arousa in the 70s, the film opens with a truly remarkable, blistering, sweaty action scene where the main character Maria is helping another woman giving birth in her room. The scene, which contains a hell of performances from Janet Novás and Julia Gómez makes The Rye Horn worth the trip. They are handling the first act effortlessly, but it’s Gómez (although this is her only major scene in the film) who leaves me mind-blowed at her emotional range, which induced tears in my eyes and left me breathless even before I knew what was coming next.
But it’s definitely Novás who owns this film, she’s the one to watch. Novas’ immersive performance consists of mood scenes and attitude posturing that feel like a masterclass performance and endlessly rewards repeat viewing. In her acting debut, dancer Janet Novás stars as Maria, a 30-something woman who is known for helping other women in childbirth with special dedication and care. As soon as we learn that Maria is childless, we know that maternity isn’t always rosy for some women. Her life suddenly went up in flames when Gómez’s teenage girl asked for an abortion and then was forced to flee to one of the smuggling routes between Galicia and Portugal after the girl was found dead the next day.
The opening scene leaves a mark and that makes The Rye Horn a powerful drama, but while the film is crafting unbearable tension, Camborda prolongs her prelude to suspense for the most quarter of the film, playing with audiences by creating such warm and lusy elements around her characters by honoring the tradition and its landscape while she sets her stage. Then the bright, balmy Galician drama transforms into a haunting gripping story on the border to Portugal where women play a crucial role for her life and it is something that I never expected when I first entered the world of The Rye Horn. The film is an unflinching exploration of motherhood and identity in the wake of a life-changing event, as Maria finds the lights on her path. A striking, shattering, and gripping survival drama.
The Rye Horn is produced by Esnatu Zinema, Miramemira, Elastica Films, Bando À Parte, and Bulletproof Cupid. Berlin and Lyon sales outfit Sales Boutique is handling its international sales.
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