In 1993, Writer/Director Victor Nunez made a film called Ruby in Paradise. The movie put a young actress named Ashley Judd on the Hollywood map and resurrected Nunez from his nine year absence from filmmaking. Judd gave a wonderfully nuanced performance in playing a young woman looking to find her way after leaving an abusive relationship. It was one of the first films I can remember with a female protagonist not involving prostitution or gunplay. To see a woman struggling with her own insecurities and attempting to define herself without a man in her life was a revelation for me. Nunez crafted a memorable character to tell a very intimate story. I was reminded of Ruby in Paradise while watching Somersault, a little seen Australian movie with a similar plot.

Fifteen-year old Heidi runs away from home after being caught making a move on her mother’s boyfriend. Without a plan, she hops a bus to the Snowy River ski resort. A brief interlude with a random guy leads nowhere, so she decides to look for a job. She lands a gig at a local convenience store and begins dating a soft-spoken fella named Joe. Making friends proves difficult for Heidi. Her people skills leave something to be desired, as do her capabilities to handle grown-up emotions such as love. Not to be outdone, Joe is struggling with an identity crisis which causes him to rethink his relationship with Heidi. Facing rejection, Heidi resorts to some dangerous behavior that will threaten her future in Snowy River.

Twenty-six year old Writer/Director Cate Shortland made her feature-length debut with this intelligent coming-of-age story. She steers clear of melodrama and instead sticks to a script devoid of cliches. To be honest, I was waiting for a suicide attempt or some type of horrific accident that would have screamed daytime soap opera. Thankfully, Shortland keeps her characters grounded and their actions age appropriate. Sure they do some stupid things, but not in a self-destructive manner. Ultimately, Heidi and Joe are in search of happiness. To achieve maturity one must make mistakes; Shortland reflects this truism in her polished writing. She also keeps her camera close to capture the coy smiles and tears of loneliness.

Abbie Cornish is convincing in her portrayal of Heidi. Her external innocence masks an impending sexual awakening. Watching her clumsily practice her feminine wiles on the opposite sex is very comical. Sam Worthington’s performance as Joe is equally good. The range of emotions he must cover is vast and complex. The typical “boyfriend” character is often underwritten, but Shortland deserves extra praise for allowing Joe to take on a significant role. Shortland has been quiet since Somersault, but her talents are undeniable. Securing funding for independent foreign filmmakers can be an arduous process. Here’s hoping she finds a windfall and gets back behind the camera sooner rather than later.

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