Memoir of a Snail has Sarah Snook lending her voice to flesh out the film’s protagonist, Grace Puddle. Through Grace, the viewers can see the other characters with whom she builds relationships of varying length. Some relationships are ephemeral, surprising, like a chance encounter with James (Eric Bana), a magistrate disgraced for sexually inappropriate behaviour. Other relationships last longer, like Pinky (Jacki Weaver), an older woman with more adventures than she has. Another important one is the one she has with her twin Gilbert (Kodi Smit-McPhee), who protected her. They spent a lot of time doing things like having fun with their disabled father Percy (Dominique Pinon). But after Percy’s death, child protective services separated them, and maybe they’ll never see each other again.

Adam Elliot’s new film is heavy but it has some moments of levity at the right moments, as Grace’s life is less difficult thanks to Pinky, who has the right amount of husbands who die. Pinky’s husbands’ and their accidental deaths make for an interesting contrast with the losses in Grace’s life. In narrating the events of her life, Grace’s voice softens but she lightens up while discussing Pinky’s life. Despite its miserablist first impressions, the film shows the two different approaches to whatever challenges one faces. That, or Pinky’s life is only funnier because the film shows it through Grace’s perspective instead of Pinky’s. Maybe that’s one of Memoir of a Snail‘s messages, that people see their own sorrows over others.

Memoir of a Snail‘s sad approach might not be for some but it is for me. And part of the appeal here is that the twists feel like viewers are hearing someone’s real secrets. Both the twists and the narration add an intimate feel of someone opening oneself up to others. It does all of this slowly, starting with Grace’s fascination with snails, an obsession she got from childhood. That obsession turns into hoarding which turns into a kleptomania, and she eventually faces the justice system. I’m of two minds as to whether or not the stakes in Grace’s life are high or low. BUt a story like Grace’s is the kind that reminds viewers that most stories deserve an audience.

I’ll probably return to Memoir of a Snail‘s many messages but its aesthetic still stands out, as the atmosphere is dark enough without it being so macabre that the viewers won’t take it seriously. The character design here is also human, showing the imperfections that will always feel somewhat surprisingly refreshing. It goes against the plastic beauty that we normally see in other films both animation and live action. This more human than human aesthetic reflects the characters here who have compassion towards their fellow humans. Without giving anything too much away, it’s a relief when Grace gets out of her own prison. It’s the kind of message film and one day, I might just care enough and give it a listen.

Watch Memoir of a Snail in select Canadian theatres.