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Ruminating on the themes of sin, accountability, irrevocable regret and gender, the multi-layered feminist horror unspools with great finesse with Garai leading the charge.
Its great to speak all these language, be in all these cultures, but it splits you.Actress-turned-filmmaker Romola Garai’s Amulet trumpeted her arrival as an audacious new visionary at this year’s Sundance Film Festival. So I don’t really know who I am, where I’m from. At home I’m speaking Alp dialect: a mix of Italian, French, and German. You have both cultures in you you see differences. That makes you the most observant person of the group. I grew up bilingual, which made me an outsider.
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You learn how to adapt to culture, but still be an outsider.
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I really enjoy how the movie sets are different. German and Italian are really different cultures. It’s part of the camouflage you adapt – how they speak, what language they speak, what culture they come from. Language is part of the character you play. I do like to switch because its like being a chameleon. You realize where you were at at 18 – you forget! The director was generous and gave me a lot of preparation time. Also, when you’re 18, the boys and girls are more divided. Helen is not like me at all, so it was quite a stretch. You need to walk in them for a while until your footprint is in the shoes. I had to come up with so many stories, lying on my feet. “ I couldn’t say anything! It was an isolating experience. The teacher came to me after the first lesson and said, “Helen, I’m really worried about you. The teachers would call my name, “Helen!” and I’d go, “Oh shit! It’s me!” I remember Spanish class – I speak Italian at home, so I thought the languages are close, it’ll be no problem. I had really long hair, down to my bum, and I cut it off. Nobody knew I was an actress, not even the teachers. I’m 27 and Helen’s 18, so they sent me back to high school for two and a half weeks. With Juri’s multilingual talents, affinity for provocation and roster of international agents, it’s a face that’s sure to grace screens for years to come.
Her undeniable charisma complicates a viewer’s initial disgust with an in-spite-of-yourself attraction, aided in no small part by her looks (the kind of spirited, Katharine-Hepburn-ish face best described as “fetching”). It’s not a role for the faint of heart, and Juri proves herself completely up to the task, more than willing to play up the comedy and, yes, pathos of Helen’s antics.
The film is body horror in the most literal way, and Helen’s experiments with various human fluids are impossible to watch without squirming if anything, Wnendt demonstrates how provoking extreme bodily reaction in an audience can cost absolutely nothing.
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The actress brings an oddly compelling sincerity to the outlandishly unhygienic teenage protagonist, Helen, unabashedly exploring the dirtiest parts of her body (not to get into too much detail, but hemorrhoids are a significant driver of plot) while secretly yearning to reunify her divorced parents. In Wetlands, director David Wnendt’s ambitious adaptation of the best-selling Charlotte Roche novel, Juri makes a strong bid for the dubious distinction of the most disgusting character to ever be committed to screen. The 27-year-old actress has been quietly gathering steam in her home county for some years now – winning a 2011 Swiss Film Prize for her performance in the feature 180°, and one in 2012 for her performance in Someone Like Me. Swiss actress Carla Juri makes a splash (a putrid, bacteria-laden splash) in the NSFW German film Wetlands, which premiered at Sundance this January, and opens in select U.S.
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