![]() ![]() These women basically learned to be ashamed of their desires, that their bodies are not their own, that their bodies belonged to God.Īt first, I felt like it was pretty backward. My first instinct when I met them was to think, “Wow, this is really backwards.” Their church believed that patriarchy was ordained by God, that women were created to submit to men, and that it was the woman's responsibility not to lead a man into temptation. Laurel Parmet: That was eye-opening for me. Laurel, I know you had spent time with women from a religious fundamentalist community while working on another project. Let’s start by discussing the film’s origins. This interview has been edited and condensed. ![]() Out of the festival, sat down with Parmet, Scanlen, and Pullman to discuss filming some of its most challenging scenes, not losing sight of their main character, and dancing as a form of sacred self-expression. “The Starling Girl” premiered at Sundance earlier this year, with Bleecker Street then acquiring the film for stateside release on May 12th. Writer/director Parmet, whose empathetic lens previously distinguished shorts “ Spring” and “Kira Burning,” steers her feature debut through a compassionate yet unflinching interrogation of power dynamics in religion and sexuality, the kind that can engender both desire and shame, repression and liberation. As their bond deepens and soon turns transgressive, Jem struggles with conflicting loyalties to the church, her community, and her autonomy. Jem is thrown into further turbulence by her intense connection with youth pastor Owen ( Lewis Pullman). ![]()
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