A Song for Imogene
Seen at the 2024 Atlanta Film Festival
Doing a film about escape from domestic violence, and reconciling with a difficult past in regards to family, is quite a task writer-director Erika Arlee sets out for herself with “A Song for Imogene.” I think there’s some interesting ideas in how she explores it, but there’s also a lot of static storytelling that makes the film feel as though it moves in fits and spurts.
In his book, Sculpting in Time, Andrei Tarkovsky spoke about his use of poetic linkages, images that connect the narrative and emotions in a non-linear form. Arlee uses this idea quite well in telling us the story of Cheyanne (Kristi Ray), a young woman whom- after learning she is pregnant- is determined to leave her abusive boyfriend, Alex (Haydn Winston). She goes to her mother’s house, but rather than comfort, a series of circumstances forces her to deal with a tense family reunion with her sister, Janelle (McKenzie Barwick), whom has been living with their mother. Feeling anxiety from all sides, Cheyanne needs to figure out what will be best for her future.
Through no fault of Arlee’s, even though she is the filmmaker behind the film, i didn’t feel much in the way of tension of the Cheyanne and Alex storyline. Yes, there is a constant concern of what Alex might do, but ultimately I don’t feel much danger for Cheyanne, as he ultimate choice feels inevitable regarding that relationship. There is tension, however, in the dynamic between Cheyanne and Janelle. Both women are the products of a broken home, as well as looking at single motherhood. This is what connects them; what threatens to separate them is the remnants of their mother’s life. In their moments together, this is where Ray and Barwick shine the brightest. We’re in constant suspense as to what will happen between these two, even if it feels fairly predictable by the end. The film ultimately seems to be two separate films, however, neither of which feed into the other with much conviction or emotional pull.
