Beanpole

Classifying Beanpole as a WLW film is contentious. The relationship between the two leading ladies covers a lot of ground, much of it toxic and not necessarily related to sexuality. But it’s the very complexity of this relationship that makes Beanpole such an excellent film.

Beanpole takes place in Lenningrad, shortly following the end of the Second World War. Iya, called Beanpole because of her height suffers from spells where she becomes catatonic. She also works at a local hospital as well as taking care of the young son of a woman named Masha. Tragically, the child dies in Iya’s care. Unusually, Masha develops a closer relationship towards Iya following this event. As the two women grow towards an unhealthy sort of domesticity, Masha requests or rather, demands that Iya make things right. Unable to have more children herself, Masha wants Iya to get pregnant and provide a replacement for the child she lost.

Based on that summary, you can probably understand why the concept of women loving women doesn’t exactly describe the dynamic between these two women. If it wasn’t for exactly one scene where they kiss, I probably wouldn’t consider this a WLW film. My personal reading of the relationship is that Iya likely has romantic feelings towards Masha. I do not believe Masha has romantic feelings in return. This is not to say that all of Masha’s actions towards Iya are pure manipulation. I think that she genuinely does have a fondness towards Iya. But I do not think Masha’s feelings are queer. Iya’s well-being and even her presence come secondary if at all towards Masha’s goals. More than anything, I think Masha sees Iya as an empty vessel for her to fill not just with a child but to siphon off her own trauma into that empty space.

In many ways, it’s Masha’s lack of attraction towards Iya that make this such an overtly unhealthy relationship. Ultimately, I think that Beanpole depicts an abusive relationship. But the abuse is rarely physical, and always part of a deeper story of trauma and tragedy. Beanpole certainly makes for the first time I’ve seen reproductive coercion in a female-female couple. And for good reason too. It turns out it’s way more complex when you’ve gotta outsource half of the reproductive efforts to a third party. As the film goes on, Iya and Masha’s relationship becomes a grotesque parody of domesticity. While the film ends with the two women seemingly happy, it’s a fragile happiness based on a shared delusion which will almost certainly be shattered.

Beanpole presents an appropriately complex depiction of the value of life. In the post-war atmosphere, every single person has experienced loss first-hand. From that beginning, it’s no wonder that these characters are in a bad mental state. I’d love to say these women should go get therapy but I don’t think that was an option in post-war Lenningrad. They were already inundated with physical trauma to have the space to heal mental trauma. Masha’s child seemed to represent a sort of hope for the future. One which is quite literally smothered. And what takes the place of that child is this unhealthy and toxic delusion that allows trauma to perpetuate instead of heal. Despite or rather, because of all this loss of life, life itself holds great meaning. But it also means that the act of living is more painful and difficult than the act of dying.

Beanpole blew me away. You may notice I don’t even mention visual elements or directorial choices. That’s because I was too invested in the story to make note of things like story structure or cinematography. This is a tragic, complex and upsetting film about a complex and toxic relationship between two women. That relationship dynamic really makes the film stand out in WLW canon, as does the film’s overall quality. Beanpole is an excellent film, one I highly recommend for those who don’t mind a film as tragic and upsetting as this one is.

Overall rating: 8.8/10

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