Romanian actress Sara and American director Andrew are perfect partners in life and art until Sara starts to see parallels between their love and their latest play: a stage adaptation of "The Evening Star" by Mihai Eminescu. As the two engage in a contest of creative wills, Sara is forced to reckon with the truth of their partnership -- and what it would take to keep it alive. A feminist satire about love, art, power, and what happens when reality and imagination collide.

Directed by Catherine Andre

Director Statement
Shape of Clay is a Fassbinder-inspired rom-com that uses the melodrama between two theater artist to critique the weirdness of heterosexual love in our world today. This cross-cultural film follows the disintegration of a romantic-creative relationship between a man and a woman – both artists – who are more comfortable playing in their roles and illusions than acknowledging the reality of the other person – or themselves.

The movie was written with a 20-year age difference between the pair. Andrew had all the power: he was 50, white, male, American while Sara was his aging starlet, moving towards thirty with a one-way ticket out of Romania (dependent upon Andrew). Originally, the film was meant to follow Sara waking up to the compromise required to maintain a partnership where the other person holds all the power. When sudden production challenges required recasting Andrew at the last moment, Jared Doreck brought new youthful, comedic energy to the character, rewriting the relationship dynamic. Andrew became a self-important, bumbling buffoon, as oblivious in his work as he is to his partner’s needs; the character had always been an emblem of the patriarchy, and now patriarchy was played in full absurdity. Yet Sara chooses to love this man and respect his authority; they are both made ridiculous through their adherence to this status quo – to their own corner of make-believe.

Ultimately, this is still a movie about Sara’s disillusionment as she finally stares down the man and role she has chosen for herself. Yet in the critical moment when the kettle boils over, the camera distances itself – and the audience – to ask: what are these two really fighting about? Perhaps the most revealing thing about Shape of Clay is the way that it has divided audiences. Some are disgusted by Andrew’s familiar misogyny or disgusted at me for “ramming feminism” down their throats. Some think that Sara is overreacting – that “it’s all fun and games with these young girls until they start to scream.” There is a third group, who sees these characters as two ridiculous people who, in some strange, disturbing way, deserve each other.

It’s my hope that this film is a mirror for our own perceptions of gender-power dynamics and what happens, even in the most intimate of relationships, when we see more truth in social roles than the human beings before us.

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