A scene later in the day involving Grace’s brother Gilbert, rebelliously opening the ‘cage’ of birds and the pigs is the emotionally core of the film for me (that ironically is equated with Grace at a later stage in the film too). In a way, both characters of Grace and Gilbert are essentially soulmates born in the same family – Grace is the timid version of Gilbert, often being bullied for her looks and silently finding her comfort in snails, which ironically are miniature versions of her, carrying a burden of grief much like what is also implied with respect to her mother (she died similar to that of a snail who dies after giving birth to her little ones). On the other hand, Gilbert is an idealist, often being the expressive one and being the first to rescue his sister from the bullies. He also has a vision in life to be a street artist playing with fire, something that is representative of his rebellious side. However, amidst the aggression is a calmer version of himself that he silently lets out with regard to his love for animals and his art of freeing them – a trait that in a way is also relatable to his personality of being trapped in poverty and grief. Clearly, Grace and Gilbert have different ways of handling grief – the latter is aspirational in a way of breaking out of it, and the former is a form of a comforting sulk while spiralling in layers of misery.

One of the mistakes that you could make is managing to judge a film based on what you think it stands for. In Memoir Of A Snail, despite it being a stop-motion animated film, the writing is edgy and unabashed that translates a simple set of emotions into something far more complex with the infusion of dark humour that accompanies the narrative. There is a searing commentary with regard to religion, s*x and adulting that is expertly presented through its characters, almost signifying a shift from the childhood innocence of Grace and Gilbert. While being separated after their father’s death, life hits the sibling duo in different ways – Gilbert finds himself in a household of religious fundamentalists who begin to abuse him mentally, often treating him as a slave while making him work at an apple orchard. The events are far too provocative for Gilbert when you compare it to the life of Grace who is inducted in a family of ‘swingers’, while her major obstacle being that of loneliness.

The writing here beautifully balances the true trapestry of life in the form of silver linings – for Gilbert, his silver lining is in the form of his family’s youngest son Ben who develops a fondness towards Gilbert, even as the duo share a s*xually active but discreet relationship. For Grace, her comfort entered in the form of Pinky, her 80-something year old acquaintance who has lived a unique life of her own. Much of the humour is triggered through her character who did lose both her husbands in weirdly hilariously situations, even as she liked to believe that she was a s*x symbol having resorted to being a table dancer while living a life of fantasy and charm. In many ways, she was a character opposite to that of Grace, taking the atrocities of life in her stride and accepting them with glee while continuing to enjoy life to the fullest.

There is a searing commentary about adulthood that is represented through the character of Grace, almost as an underlying layer. She has bought into the idea of being lonely and ugly, even while seemingly putting on weight, a symbol of grief stemming from her idea of not getting to meet her brother on a daily basis. The writing is dense and layered even with the introduction of another character Ken, a repairman who takes a liking for Grace. For him, it is about acknowledging the cracks in an individual and flaunting them rather than wanting to repair them – something that briefly attracts Grace. He, by far remains the most conflicted character given his love and support for Grace, only for the writers to make a U-Turn and further push Grace into a state of misery.

The final half hour of the film will go down as one of the best written pieces that I have encountered this year on celluloid. There are philosophical undertones accompanying the narrative which balance out the insurmountable amounts of grief encountered by Grace, even as the film circles back to the first scene. There is a distinct voice of depression stemming in the form of a shell that Grace has been carrying, only for it to be too heavy for her now. In a way, she has become the ‘snail’ with a huge shell, having to lead a life of misery and loneliness. Yet, the profound twist that the drama has to offer was one of a kind – it was almost like the lines of celluloid blurring with the commentary on life being directed towards you. It was enough to make this grown up man weep like a little child while being thankful to the little joys of life. It was symbolic of my state of depression that I refused to acknowledge for the longest time, until I did one day, only for things to look a lot better since, much like Grace. It also doubled up as a reminder on how some people can touch the lives of millions of people, long after they are gone. The ending here was bittersweet and emotionally heavy in this gem of a screenplay that essentially is a celebration of the highs and lows of life.