A Film That Trusts Discomfort

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MOVIE REVIEWS
Somersault

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Genre: Drama
Year Released: 2004, Film Movement 4K restoration 2026
Runtime: 1h 46m
Director(s): Cate Shortland
Writer(s): Cate Shortland
Cast: Abbie Cornish, Sam Worthington, Lynette Curran
Where to Watch: premieres in theaters beginning February 20, 2026


RAVING REVIEW: What does growing up look like when no one teaches you the difference between wanting closeness and using your body to survive loneliness? SOMERSAULT begins mysteriously and never attempts to explain itself. Cate Shortland's directorial debut is not concerned with helping the viewer find their way or rounding out the edges of Heidi's actions. Rather, Shortland puts the viewer directly in the middle of Heidi's uncertainty. This decision is essential to the film's continued relevance twenty years later and to this 4K restoration's role as a necessary introduction rather than a nostalgic trip backto the day.


Abbie Cornish's portrayal of Heidi is among the most truthful representations of adolescent vulnerability depicted on screen. Heidi is neither framed as rebellious, promiscuous, nor self-destructive in a traditional sense. She’s lonely, impulsive, and completely unable to express what she wants. Cornish portrays Heidi as someone responding in real time to a complete absence of emotional safety and doesn’t ask the viewer to sympathize with her, making it all the more tragic.

Shortland's direction intentionally refrains from sensationalizing Heidi's sexual manifestation. Sex in SOMERSAULT is awkward, transactional, sometimes unwanted, and frequently confusing. It’s not portrayed as an act of empowerment or as a form of punishment. It’s portrayed as a means of communication. Heidi seeks physical closeness because emotion has never been demonstrated to her. This is a critical distinction, and the film never articulates it through dialogue. Rather, it trusts the viewer to identify the pattern.

Joe, played by Sam Worthington, is similarly reserved. He is emotionally immature, physically expressive, and uncomfortable with the idea of being vulnerable. The film deliberately resists casting Joe as either a savior or a villain. Joe doesn’t know how to express affection without aggression, and he is unsure why intimacy frightens him. Worthington portrays Joe with a muted physicality that feels incredibly authentic. His silences are as revealing as his physical expressions.

Heidi and Joe don’t have a conventional romantic relationship. Two individuals move around each other, using different tools. The relationship feels tentative, occasionally tender, sometimes destructive, and almost always unresolved. Shortland deliberately refuses to pretend that affection can rectify deep-seated emotional harm. This is part of why the film remains radical.

Lynette Curran's portrayal of Irene provides one of the film's most stabilizing influences. Irene offers Heidi refuge without condescension and boundaries without cruelty. Irene's role isn’t to fix Heidi, but to demonstrate what care looks like when it is unconditional. The film views this type of kindness as rare and fragile, not automatically available.

The film's visuals benefit greatly from the 4K restoration. Robert Humphrey's cinematography uses cold blue tones, muted white tones, and sharp red tones that reflect Heidi's emotional states. Winter in Jindabyne, New South Wales, isn’t a picturesque setting; it’s isolating, barren, and emotionally unforgiving.

The sound design and score support the film's atmosphere without telling the viewer how to react. Music does not provide cues for catharsis or tragedy. Rather, music exists alongside the characters, and silence is permitted to linger. Moments are allowed to resolve themselves (or not). Shortland understands that adolescence is often incomplete; therefore, she structures the film accordingly.

SOMERSAULT's greatest strength lies in its intentional avoidance of providing clear answers. Heidi's past is suggested but not outlined. Joe's struggles are expressed sporadically and then recede. Some viewers may find this lack of transparency frustrating, while others will see it as genuine. Whatever the case, SOMERSAULT will resonate with audiences.

When viewed today, SOMERSAULT appears to be the work of a filmmaker who already understood the moral obligation to tell stories about young women. Shortland never situates herself above Heidi. She listens, she observes, and she permits contradictions to exist without correction. This is a trait of Shortland's subsequent work, but it is evident in this film as well.

This restoration also demonstrates how confident Shortland was in her first film. SOMERSAULT doesn’t ask to be liked; it simply asks to be understood. The film is about confusion, about finding ways to learn from emotional damage, and about how much people desire connection without knowing how to ask for it. That truth hasn’t diminished since the film's release. In fact, it lands harder today.

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[photo courtesy of FILM MOVEMENT CLASSICS]

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