"Romvari opens her film with a family of six moving to a new home in Vancouver. At first, it's a little difficult to pick out from where the drama will emerge as we maintain the POV of one of the daughters, Sasha, overhearing difficult conversations between mom and dad, many of them about her older brother Jeremy. He lies on the front porch doing nothing; he wanders away from a family day"
"In this first half, Romvari proves herself a striking visual artist, working with the spectacular cinematographer Maya Bankovic to film scenes of troubled domesticity from the distance of a child or even an observer outside the family. The camera peers through trees or windows, never quite framing the image like a melodrama would, but shaping the pain of this family through the lens of memory."
Blue Heron follows a family of six relocating to Vancouver as their eldest son Jeremy exhibits increasingly erratic behavior that terrifies and confounds his relatives. The childhood point of view centers on Sasha, who overhears parental anxieties and witnesses Jeremy lying idle, disappearing from a beach outing, and climbing the new house roof. The film then shifts to an adult Sasha who becomes a filmmaker intent on making a movie about her brother, blending documentary methods with memory. The work interrogates the limits of recollection and of filmmaking, framing domestic pain through careful cinematography that peers through trees and windows.
Read at Roger Ebert
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