Soft & Quiet – first-look review | Little White Lies

Festivals

Soft & Qui­et – first-look review

22 Mar 2022

Words by Erin Brady

Three adults and two youths seated in a living room, surrounded by patterned furniture and shelves.
Three adults and two youths seated in a living room, surrounded by patterned furniture and shelves.
Beth de Araújo takes view­ers into a white suprema­cist night­mare in her ter­ri­fy­ing yet stag­ger­ing direc­to­r­i­al debut.

If there was one phrase I hat­ed most grow­ing up, it was what are you?” Even though I con­sid­er myself fair­ly white-pass­ing, the reac­tions I’ve received grow­ing up with the dis­tinct­ly Asian fea­tures I have range from curios­i­ty to con­fu­sion and, unfor­tu­nate­ly, dis­gust. I was forced to realise at a young age that no mat­ter how much I pass as white, there are some peo­ple who are only going to view me as Asian for all the wrong rea­sons. They will see me as a threat, a dan­ger, some­one that is ruin­ing the sanc­ti­ty of the Cau­casian race just for being born. The worst thing is that there is noth­ing I can do to pre­vent this with­out com­plete­ly aban­don­ing myself and my fam­i­ly in the process.

That is pre­cise­ly why Soft & Qui­et, the debut fea­ture film of Beth de Araújo, gave me the worst pan­ic attack I’ve ever had dur­ing a film screen­ing. Shot in one take over the course of an after­noon, kinder­garten teacher Emi­ly (Ste­fanie Estes) has organ­ised a white suprema­cist club called the Daugh­ters of Aryan Uni­ty and has amassed a group of equal­ly hate­ful and racist women to join her. Some of the mem­bers decide to get togeth­er after the meet­ing, where a dis­turb­ing run-in with two mixed Asian sis­ters (Eleanore Pien­ta and Cis­sy Ly) sends their lives spi­ralling out of control.

There is a lot that can be said about films that cen­tre on white suprema­cists, often along the lines of these peo­ple are gen­uine­ly dan­ger­ous and shouldn’t be plat­formed in media.” While there is a ker­nel of truth to this thought, espe­cial­ly in an era where Asian women are bru­tal­ly attacked under the guise of them being sub­mis­sive or used to” abuse, it’s impor­tant to be cog­nisant of the lens through that these sub­jects are under. Thanks to the tight direc­tion of de Araújo, who is Brazil­ian and Chi­nese, the Daugh­ters of Aryan Uni­ty are under an angry, venge­ful, and tense lens that refus­es to give them any sympathy.

There is pal­pa­ble anx­i­ety against the film’s pri­ma­ry sub­jects with­in de Araújo’s direc­tion and cin­e­matog­ra­ph­er Gre­ta Zozula’s fram­ing that can­not be under­stat­ed. The deci­sion for the film to take place in one take is not just a hook, but a con­scious way for view­ers to realise just how dan­ger­ous Emi­ly and her new friends real­ly are. This anx­i­ety com­bined with the com­mit­ted per­for­mances and bass-boost­ing score by Miles Ross esca­lates into a film more ter­ri­fy­ing than any of the films in the SXSW’s Mid­nighters cat­e­go­ry. Most impor­tant­ly, how­ev­er, it’s an effec­tive ter­ror that grabs you by the neck and doesn’t let go until the cred­its final­ly sig­nal the end of the film.

Soft & Qui­et could be one of the most dif­fi­cult watch­es of 2022, espe­cial­ly for oth­er Asian women who would rather not be remind­ed of the hor­rors of white women har­ness­ing nation­al­ism for their own gain. Nobody is under any oblig­a­tion to watch it if they can’t han­dle see­ing the gen­uine­ly dis­tress­ing con­tent in our cur­rent cli­mate, nor are white view­ers meant to watch it as they bend over back­ward to prove they sup­port Asian women. How­ev­er, if you are up to watch­ing it, you will under­stand exact­ly what de Araújo told the SXSW audi­ence at the film’s world pre­mière: you can’t get rid of all of us.

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