In Corpore

In Corpore is an unabashedly truthful, evocative, albeit tonally mild small-scale drama that is vitalized by several female perspectives, all of which discuss gender stereotyping and relational insecurities with seemingly unscripted reflection. While I’m sure the foundation of every argument was planned, Jayne and Malekin’s most glaring experimental gambit throughout the film was improvisation. Most of the scenes are improvised, and more often than not, the dialogue is decidedly candid because of it. Other times, the dialogue could have used more direction, as the delivery is at times irksomely stagy. Whilst the characters often react in disagreeable ways, the characters act on instinct and what they felt was right at the time, which grounds them as distrustful characters.

Sex can be personal and impersonal. It can be carried out as an act of love, deception, and desperation, as experienced in In Corpore. In another daring approach, the filmmakers incorporate protracted, uncensored sex scenes between every couple, although the sex scenes suggest more than a heated display of physical affection. Every sex scene subtly emulates what both partners are feeling or hides what one partner is feeling in the midst of the steamy affair.

“Fearlessly acted, adequately shot, and nicely edited…”

After a messy argument, Rosalie and Milana have sex in the shower. Rather than being a healing display of love and affection, it is a fruitless act of desperation to keep the romance alive. At one point, Anna surprises Manny with sex. Still, instead of savoring the act, Manny cannot let go of the family discussion, which Anna was furtively anticipating he would let go of for a moment while they make love. When partners aren’t honest with each other or don’t treat each other with respect, the relationship eventually crumbles, regardless of how much either partner tries to make it work on carnal appeal alone. 

In Corpore explores the crux of commitment and sacrifice in any given relationship — be it open or not. Sarah Jayne and Ivan Malekin’s shrewd screenplay confronts society’s expectations of women, instances of men being insensitive to the sacrifices of motherhood, and feelings of desperation, jealously, and personal yearning disrupting the flow of a relationship.

In Corpore moderately elicits the question of whether one partner in the relationship should comprise, give in, or chase their own aspirations at the expense of their partner’s wishes. Fearlessly acted, adequately shot, and nicely edited, In Corpore boldly examines the complexities of relationships.