Everything Put Together (No cert, 89 mins)

by ALEXANDER WALKER, Evening 基準

Marc Forster, director of last week's Monster's Ball, 発射 this earlier film, his first on 数字表示式の ビデオ.

In style and content, it's not an 平易な ride. It often looks and sounds awful - grainy, fuzzy, ill-焦点（を合わせる）d, 十分な of collateral noise. No way a （疑いを）晴らす-削減（する） narrative.

Yet rough looks 控訴 a 堅い 支配する: cot deaths, or, as the US calls this still mysterious 現象, "Sudden 幼児 Death Syndrome" (SIDS).

Once Angie and her husband, comfortably off Californians, lose their baby to the 病気, we are immersed without mercy in the husband's helplessness, his wife's 不景気, her 否定 that the dead child is hers, her 拒絶 of friends, 弔慰s, her 発見 that "normal" mothers shun such "afflicted" ones lest they somehow 背負い込む their infliction, and her 結局の abandonment to loneliness and hopelessness.

Its 誠実 is irreproachable; yet, for me, Angie's ordeal has unsettling intimations of masochism - self-非難する feeding emotional selftorture.

By feeling its way so 排他的に to the broken heart of a mother, the film ignores most of the 資源s for pulling her out of despondency - why not have another child, for instance?

In the 第三世界, an 幼児's birth or death elicits much いっそう少なく attention or grief than in countries of the West that 投資する each event with so much emotion.

Nothing is easier to make - or take - than life. All the same, for those equal to it, Everything Put Together 直面するs its 医療の and emotional conundrum with all honesty - and much 苦痛, too.

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