In the 2023 film Piaffe, directed by Ann Oren, we meet Eva (Simone Bucio), a quiet and unassuming individual who unexpectedly finds herself thrust into an unconventional role as a foley artist tasked with creating sound effects for a commercial featuring a horse. As Eva navigates this unfamiliar job, a gradual transformation occurs within her: what starts as a mere task evolves into a profound obsession with crafting the perfect equine sounds. This newfound passion catalyzes personal growth, gradually bolstering her self-assurance and sense of empowerment.
Embracing her newfound sense of physicality, Eva undergoes a remarkable shift. This is where the film really takes a unique turn, as she begins to literally take on characteristics of her obsession – a tail. The once introverted woman now radiates confidence, drawing strength from her evolving skills. In a captivating twist, she entices an unsuspecting botanist into an enigmatic dance of dominance and submission. Their intricate web blurs the lines between control, identity, and authenticity.
Presented through the lush medium of 16mm film, Piaffe takes audiences on a sensory voyage. Fans of Peter Strickland’s Berberian Sound Studio will definitely find some familiarity with the sound elements, but Oren’s goals with it are far different. Eva’s obsession with the new job finds its way into the film’s own sound design. Amidst the textures and nuances of this medium, the film explores themes of power dynamics, gender, and the facade of appearance. This is shown through both Eva’s story and her sister played by non-binary actor Simon(è) Jaikiriuma Paetau. As Eva’s journey unfolds, viewers are invited to delve into the intricate tapestry of control, gender roles, and the complexities of self-expression.
By the overall synopsis, it is probably clear that this film will not click for everyone. Oren isn’t concerned with spelling out or explaining much of what is going on in the story of the film. Instead, she leans into the themes and ideas to allow the audience to truly process everything. Of course, it’s also a tribute to the profession that Eva finds herself enraptured by. Oren said, “I was always really charmed by this profession, amazed with what goes on in their studios, how animated they are, like actors who re-enact the actors on screen, in order to convince the viewers that what they are watching on the screen—is real.”
While all of Piaffe didn’t grab me, I can’t deny its allure. There is something extremely compelling about the performance by Bucio as she transforms, the aesthetic beauty of the film, and the attention given to the craft of Foley. Film lovers will likely be sucked into those elements, even if they long for a more traditional narrative in which to follow. Regardless, it’s clear that Oren has a unique voice and approach to the craft that will lend itself well to her future films. Think of auteurs like Strickland, Julia Ducournau, and Claire Denis. Oren isn’t concerned with appealing to a large audience, but her confidence implies that she believes her film does have one.
Piaffe will be in theaters on August 25.
Rating: Not Quite Golden, Ponyboy
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