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Aside from the fact that one can usually tell the fantasy moments from the reality (which is a good formal guide for what the film wants you to take away from this or that moment), the real clue comes from that phone call Tracey makes. I think the film is very subtle about pointing out her home life is, in fact, as unstable as it seems. I was wondering, recently, how accurately Tracey recalls her parents: if they are really as unbalanced as they come across, or if this is just her perception, and in fact their motives are rational.
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As far as I can tell, three things actually happened between them: the brief conversation in front of his locker after Tracey has got herself up, the bit in the car, and the meeting at the very end.Īs a side note, thanks for the recommendation, Domino, I would never have watched the movie without it. Much of the stuff to do with the 'boyfriend' is fantasy (he doesn't even remember her name when they meet in the woods near the end, which you would not guess going purely on what Tracey has told you up to then). I also don't think she is misremembering it to us in an attempt to cope, since there is that jarring separation between the moment of fantasy (lyrical movie sex) and the reality (awkward car sex).Īs to her relationship with that guy, the movie explicitly asks us to question many of the things Tracey either tells us or remembers. Anyway, you would expect, with all of those frames, at least one reference to the later (time-wise, anyway), very real rape attempt in the apartment, if the stuff in the car were indeed sexual assault.
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That he rebukes it, and then pushes her out of the car, I took to be his pathetic response to his not knowing how to deal with the now awkward situation. But her reaction seems too muted for rape and she does try to touch his face afterwards in an attempt at tenderness, which you would not expect from a rape victim. Tracey doesn't struggle, and it seems like she enjoys it (brief grab on the upholstery at orgasm), and then the post-coital awkwardness. Then we cut jarringly back to the reality, which is unglamorous sex in a car. Right before the stark cut to them in the car, there's that lyrical moment of tender sexuality that's clearly meant to be Tracey's internal experience of the moment. I'm not sure she was raped (nor that the guy was even her boyfriend). It's also one of the most brutal, unglamorous, and surprisingly accurate depictions of the dregs of being a teenager. I honestly didn't go in expecting much but this ranks as one of the most exciting and just plain interesting examples of narrative justifying form.
The film isn't an unconventional madness on display, it's every teenager's inability to cope with the world at fifteen. There's a telling sequence about 30 minutes into the film where Page envisions her life via the opening credits to a CW-type program, and the editing there is barely changed from that of the rest of the film. Describing the film's style can't compare with just posting random screencaps, which give a far better idea of what is work here, though it's naturally better experienced in motion:īut this isn't just "crazy aesthetics" for articifical, surface reasons. On the other end of the spectrum, the screen can host up to two-dozen different perspectives and counters on a single moment, every image consistently moving within the space of the screen. There were probably less than ten shots in the entire film that aren't over-layed, and save one memorable example, those last only seconds. The screen is consistently moving, introducing new footage and perspectives while reforming existing information.
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The film takes its cues from split-screen cinema such as Chelsea Girls and Time Code (and I'm sure countless experimental films) but expands and extends the aesthetic for the length of a feature film.
The Tracey Fragments reveals in bits and pieces several traumatic blows to Ellen Page's character, which more or less dissolve/disable her ability to piece together the narrative into a coherent (linear) narrative. And for all the pejorative critical bile heaped on the Tracey Fragments for being "too film school," here's a film that uses a specific device for narrative means, rather than a collection of "Oh wouldn't this be awesome in a film"s as in Hayne's Bob Dylan MASH note. Unlike the frequent cop-outs of Schnabel's Diving Bell, McDonald's film never pauses to orient the viewer into a more comfortable (conventional) aesthetic. In a year when two other, highly-flawed films garnered attention for their forward aesthetics, here is a film that actually has the bravery to assign a aesthetic to the film and then play by the rules as set for its entirety.
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