Pieces of a Woman is a magnetic film driven by its powerful directing and performances. The Netflix tale, currently available on the streaming platform, follows young couple Martha (Vanessa Kirby) and Sean (Shia Labeouf) as they deal with a heartbreaking miscarriage.
The incomparable Ellen Burstyn, who plays Martha’s mother, spoke to Screen Rant about what drew her to the production and the many different perspectives on grief that are echoed in the film.
What attracted you and hooked your participation in this film?
Ellen Burstyn: You know, it was a very logical progression. I read the script, I loved the script, I asked to see the work of the director, and they sent me a film called White Gog. It's so good. The last shot in that movie is one of the most incredible shots I've ever seen.
I liked the script, I liked the director, and then I said, "Who's playing Martha?" And they said, "Vanessa Kirby," and I went, "Oh, I saw her in The Crown. She's good. Let's do it." So, I was in.
The mother and daughter come into conflict in this film because they both have so much pain at their core. What brings the two together, and what keeps them apart?
Ellen Burstyn: I think I want what's best for my daughter, but what I think is best for her is not what she thinks is best for her. And that's our conflict. She's grieving in her way, which I don't think is a good way. I think she would be much better off if she would express it and feel it, and not have it all be locked up inside. And she demands not to be told how to grieve. So, I think that's our basic conflict.
That's really what the film is about. Everybody gets to grieve their own way; it's a profound human experience. From my point of view, you don't really know who you are as a human being until you've grappled with your feelings that deeply.
The director Kornél was really able to invoke emotion with his camera movements, especially in that opening scene. I felt as helpless as the character Sean was in that scene. Can you talk to me about the collaboration process of working with Kornél and Kata?
Ellen Burstyn: Well, they came to my apartment for four days before they left for Montreal. I didn't go with them; I wasn't there at the beginning. I wasn't there for the birth scene.
We spent time together, four days, reading the script and talking about the characters, arguing with Kornél and Kata. You know how actors are: "Well, what about if she does this?" We went through all of that; got to know each other, and got to relate to each other as the characters. I invited Vanessa to come spend the night; she did, and we had a nice pajama party and talked on a deep level. I cooked her dinner and, like a good mother, I cooked her breakfast. We got to know each other and really love each other. It was very easy, actually, for me to feel maternal toward her. Which I still do.
Elizabeth claims to be seeking justice for a daughter, but do you think she's really trying to find a way to heal herself?
Ellen Burstyn: It might be that. I think it's more that she doesn't recognize her daughter's way of grieving. She doesn't recognize that what she's doing is what she has to do. Elizabeth's way of dealing with things is to go after it, to deal with it, to make it better, to stage that chair, put a pillow on it; don't just let it sit there. She's very active and outer.
Martha's an introvert, and holds things inside of her. I just don't understand that. I mean, she's got somebody to blame. Why doesn't she blame her? Instead of carrying all the blame herself and blaming herself for what happened and feeling shame and all the things that I think she's feeling. It's a different headset that we have.
