Camera in hand, Anna (Katie Boland) seeks to find an identity by retracing the absentee Helene’s footsteps, and hopefully to solve the mystery of her disappearance via clues in her painful photos. Finally, she feels the pull of her mother’s journey through the fringes of society and the raw, suffering beauty of the human experience. She is at once her mother’s daughter and mother’s “mother,” fretting over her disappearances and feeling guilt over the burden she has had placed on her. The daughter of an acclaimed, depression-prone “outsider-art” photographer named Helene (Maria del Mar), Anna has grown up with pressure from multiple directions. Too bad writer/director Harvey frames them so awkwardly within the story.Katie Boland (l) and Maria Del Mar in a publicity still for Looking for the Original Sin.Ĭanadian distributor: Breakthrough Entertainment These reflections parse the photographer’s relationship to her craft, subjects and life. Meanwhile, Helene intermittently delivers a monologue to the camera (the only thing she has an open relationship with), communicating her turbulent emotions and thoughts about photography – much of which mirrors discussion surrounding Arbus’s work. Much of the film revolves around Anna’s attempts to get to know her absent mother by perusing her photographs and tracking down associates and former lovers. Uncomfortable in her maternal role, Helene moves out of her home without warning, hiding from Anna to focus on her work. Looking Is The Original Sin stars Katie Boland as Anna, a 19-year-old mostly ignored by her mother, Helene (Maria del Mar), a successful but unstable photographer. The art, voyeurism and depression of photographer Diane Arbus inspired Gail Harvey’s Toronto-set drama about a distressed mother-daughter relationship. Opens Friday (November 22) at the Carlton Cinema. LOOKING IS THE ORIGINAL SIN (Gail Harvey).
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