I'd seen portions of this film on TV when I was about 12, and it frightened me -- I thought it a perversely arousing horror film. Watching it now, I see that it's actually a pretty smartly made literary piece about a family (I could only remember the disturbing images indicated by the film's title). It does have its share of comedy -- there's a lightness in tone that comes mainly from the profuse swearing of the Maritime newlywed (Kerry Fox) who takes part in one of the more awkward marriage processions in recent memory (which also features Ashley MacIsaac on fiddle), and whose marriage instigates the return of her ten-years-gone brother, William. The telling of the film is centered around three tenses of William's life -- his childhood memories, his fat teenage years, and his current appearance -- which are cut up, rearranged, and presented to us, though the unique thing is that Fitzgerald chooses also to surreally intersperse them together into the present one: our current William sees his young self using food as a comfort, and he sees his teen self leave behind his obese body in favor of his current slim frame.

I liked the way that Fitzgerald chose to tackle the mind's abstract identity in this very literal way and I think it makes the film more interesting than its abusive-father/thoughtful-mother family drama otherwise would be. There are some nice touches in the film, like William's apparent young sister who he seems to have swapped gender roles with, and there are some really clever scenes like the one where the current William rushes to help his father -- and his father seeing that his grown son has been playing dress-up; or the scene where his mother has to listen to her son's first sexual experience with a woman. The performances are uniformly good for the film's intent, but Sarah Polley stands out as doing something beyond what's merely required. 8/10

We saw the film in its original release. Not having seen it since then, we decided to take another view the other night, as it was a haunting piece of film-making. Thom Fitzgerald directs his own material about a family's disintegration amid an internal crisis.

The film shows a family in three different epochs of their lives. The father, Whiskey Mac and his wife, Iris, are seen in their suburban home where they are raising two children. The segments are divided into chapters and all take their names from flowers and herbs.

The main conflict in the film is within Sweet William, who as a teen ager is haunted by his latent homosexuality. The object of his interest is Fletcher, the school friend who isn't at all repulsed by William's advances, which are obvious. When they are caught in the act by the zealous grandmother, the family goes to pieces. Sweet William, in shame, hangs himself from a tree in the garden. This, we realize is only a symbolic way to show that like his own mother, Iris, both have fled the home in search of a more normal life. While Sweet Williams returns, completely transformed into a slender man, the mother is never heard of.

The message of the film seems to be how a family secret becomes the breaking point and its demise. Whiskey Mac sees the hanging figure of his teen aged son right in the middle of the garden. It's a painful reminder that he has lost him. Rosemary ends up marrying Fletcher, who seems to be game for a sexual encounter with the present William.

Mr. Fitzgerald has guided his excellent casts into giving performances that are true to life. Peter MacMeill, Kerry Fox, Chris Leavins, Troy Veinoitte, Seana McKenna, Sarah Polley, and the rest, show an understanding for the material.

While this is a somewhat difficult film to sit through, Mr. Fitzgerald film deserves to be seen.

I recently saw this again having first seen it in the theater on its release and been spellbound by it.

Thom Fitzgerald is both the writer and director of an exploration into a family's dysfunction and disintegration amid their getting together for the wedding of the daughter.

The film shows the family in both the present and the past and centres around the newly returned son, Sweet William, the father, Whiskey Mac and his wife, Iris, and their relationship to their three children. The father is a nursery man/gardener and the segments of the movie are titled with the names of flowers. As are the children of the family.

In the past, Sweet William, an unhappy overweight boy is conflicted by his latent homosexuality. He develops a relationship with his friend Fletcher. When they are caught making love, the family completely falls apart.

The message of the film revolves around the theme of family secrets and how attempts to bury or ignore them serves only as a temporary cover-up. They will out.

Peter MacMeill, Kerry Fox, Chris Leavins, Troy Veinoitte, Seana McKenna and Sarah Polley give able, believable performances.

Again, it is one of those under-appreciated Canadian gems that have not been brought to a wider audience. And deserve to be.

And it has one of the most surprising, uplifting endings!

8 out of 10. Bravos to all involved.