I would say that my childhood was fairly conservative, though not to the degree that viewers are exposed to at the beginning of Mean Girls, but something that was very similar. I was a sheltered individual. While most of my friends grew up seeing the Chucky movies and IT the Tim Curry version, I wouldn’t experience such things until well into my adulthood. It’s not just movies either. There would be weekends where my friends would go out and do stuff - I was just stuck at home because mom and dad had said no. It wasn’t like a punishment or anything. It was just an overprotective no. 

If my parents didn’t like one of my friends, or even girlfriends, I never heard the end of it. It got to the point where I didn’t even have to hear them say anything - their demeanor flat out changed. In some ways, I feel like I got unhealthily thrown into life. I was 17 when a friend of mine committed suicide. That changed me forever. I was no longer the child attempting to chase forbidden fruit because everyone around me had tasted it. I was stuck in a moment where I had to respond to my first tragedy. Everything else could wait.

When the dust settles on something like that you’re still left with the reality that took place prior to that tragedy. Our environments shape our experiences. They shape us into who we become, whether we embrace or change it. These atmospheric impressions of youth take center stage for the German movie, Fellwechselzeit, or as it is dubbed in America, Time of Moulting. The film tells the story of Stephanie and the relationship between her and her family. There are certain aspects that the film embraces throughout its 80 minute runtime. Writer-director Sabrina Mertens does a marvelous job at laying the foundation of the effects of the environment of Stephanie on an emotional level moving from a child into adulthood.

The family lives in the childhood home of Stephanie’s mother, played by Freya Kreutzham. Mertens engrosses the poison of nostalgia and the implications of hoarding, and uses both elements as a springboard to comment on the mental health of holding onto such memories. The two actresses that play Stephanie are Zelda Espenschied, as the younger version, and Miriam Schiweck, portraying the teenage variation of the character. It’s interesting how the narrative explores the use of the symbiotic relationship of the mother and younger daughter. It lays an effective foundation for the film’s final act that fast forwards a decade into the future. It wonderfully commentates on how harmful home lives can impact us moving into adulthood.

The transition between childhood to teenager comes a bit late in the film. The implications of environments should come well before the film’s final act. Honestly, Schiweck remains one of the stronger performances, if not the strongest, within the film. The narrative spends a bit too much time on the symbiotic relationship and not enough on the toxic aftermath. Even when we spend time in the decade aftermath it comes across as rushed. Honestly this is the best part of the film and we don’t get to spend enough time understanding the implications of the first two acts. That may be one of the biggest flaws of Moulting: its structure. The film does not have a cohesive narrative whatsoever. For the most part, it feels like a series of shorts strung together that happen to feature the same lead character. Every time the film shows any signs of direction, it falls right back into old habits. There are quite a number of scenes with Schiweck that showcase her mental health struggles from growing up in this dysfunction but they are immediately dropped. It's almost as if this film fears boldness.

Overall, Time of Moulting is a gorgeous film that captivates, but only superficially. There is not a terrible performance here. The structure of the film is its biggest pitfall, coming across as a series of shorts instead of actually creating a cohesive narrative. The pacing can be weird because of this factor. The film can feel a bit too heavy handed on the sympathy of certain characters and not enough on their implications, which in turn has characters come across as one noted and forgettable. Time of Moulting is stylized but wastes its performances in the foundation of its artistry.

RORSCHACH RATING:

Mental Health Moment: Nearly every moment of the movie deals with mental health. It’s one of the reasons that, while I may not be the biggest fan of the movie in general, it has my utmost respect. Mertens manages to capture a raw vulnerability to these characters - particularly with the teenage version of Stephanie. Throughout her time in the final act she is constantly attempting to find a way to be alone. She even attempts to craft a lock for her room. 

Before I go into a bit more detail of what happens next, I feel the need to rewind to a previous scene in the movie. Early in the narrative, it is established that Stephanie’s grandfather slaughtered pigs. She stumbles upon his killing equipment and is utterly captivated by it. So much so that she ends up, later in the movie, returning to the tools as a young adult. She carries with her the same captivation. Throughout her young adult journey she has violent tendencies towards either herself or her parents. 

Why Stephanie carries such dark fantasies is never explicitly spoken about. However one can assume it has a lot to do with the isolating factor of growing up in such an environment. There is one brief scene, with Stephanie as a child, where she is playing younger children. One single scene where she is shown having a normal childhood. Sometimes if we grow around stories of murder and are shaped by isolation, we become products of those very things. Biologically we are created for community. We are created to be with others and to be in relationship with others. As we mentioned in our Synchronic episode, if you need community or need to express feelings - feel free to reach out to us or some of our resources. No one should ever be made to feel alone.

If you or someone you know is reading this right now and struggling with suicide, depression, addiction, or self-harm - please reach out. Comment, message, or tweet at us. Go to victimsandvillains.net/hope for more resources. Call the suicide lifeline at 1-800-273-8255. Text "HELP" to 741-741. There is hope & you DO have so much value and worth!

Victims and Villains is written (and produced) by Josh "Captain Nostalgia" Burkey and others, and edited by Cam Smith. Music by Mallory Johnson and others. Time of Moulting is property of its respective filmmakers. We do not own nor claim any rights.

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