‘The Swearing Jar’ is about a young woman who has two unexpected beginnings that play out simultaneously over the course of the narrative.
Carey (Adelaide Clemens) is a would-be singer-songwriter whose happiness is repeatedly tainted by other events in her life. She is married to Simon (Patrick J. Adams), a published writer, and recently discovered that their baby-making efforts have finally paid off. However, they’re still quite young and in the early stages of their marriage, which leaves them susceptible to passionate and occasionally hurtful arguments. In the meantime, Carey meets Owen (Douglas Smith), a guitar player who works at a local bookstore and seems to have been immediately taken with her. She’s hesitant, but also enamoured by his witty flirtations. Soon enough, they’re seen on stage together and elsewhere. Yet, always present to spoil a tender moment is Simon’s mother, Bev (Kathleen Turner), who doesn’t seem to know how to connect with her loved ones.
Most interestingly, The Swearing Jar’s narrative does not unfold linearly. Instead, the three sections, which consist of Carey and Simon, Carey and Owen, and the live musical performance, all playout simultaneously with the picture rotating between each chapter. As a result, audiences are not entirely ensure when these periods are occurring in Carey’s life and how they affect each other. However, three parts do mean three endings to some degree. Clemens plays all her roles beautifully as Carey’s experiences shape and change her, resulting in a different version of herself in each segment. And although it’s been some time since we’ve seen Turner on the big screen, she is perfect to play the caustic mother-in-law – nobody can deliver a harsh criticism disguised as a caring remark like her.
The Swearing Jar had its world premiere in the Contemporary World Cinema programme at the Toronto International Film Festival.
Read other reviews from the festival and stay tuned for the full review later this year.
Director: Lindsay MacKay
Starring: Adelaide Clemens, Douglas Smith and Patrick J. Adams
