Invalid_ID_DI Experience, indeed, defies representation or articulate expression. Just as a photograph only captures one shot of a smooth manifold aggregate of lived phenomena, so language can only restrictedly encapsulate vibrancy. But one'd hope that a sequence of such photographs enables one to peer into that share of moments, brightening up memory and trajectories of thoughts, absorbing anew the cultivating spectrum of lived emotions. Breathe.The opening credits alone immediately capture the spirit of this pure coming-of-age masterpiece. Ignoring the excusable whiny music, it alone was already so great and lingering that one'd want to stop and muse. Submergence into water necessitates the synergy of the liquid water's flows with the likewise fluid and variedly current half-obscured memories of growth intertwined with decay. Stopping for an instance, retreating below the surface, divine Davina feels the impact of the past. It's her birthday, but she's not yet ready to face it. Brooding on the past can perhaps help, before lurching further into uncertain future terrains, that will eventually also continually expand the mind's horizons.Film itself captures the process. An acoustic-visual artificial succession of events, melded with and moulded by memory, fantasy, by movements of objects that defy physical laws. Stop-motion and time-lapse show the productive capabilities of the unconscious factory, and the fragmentary apprehension of spacetime. Shades of lights correspond to different intensities. One traverses heterogenous planes, exploring natural strata, and sensing the world. The hair billows through the wind, the skateboard grinds across the concrete, the clouds, the grass, crops, trees, endless telephone wires, ... they all reverberate, grafted from their respective denotations to dance within the partial subjective perspectives, poetic experimentation and flows. Stream of consciousness.Divine Davina is in a state of becoming. The creation of memories contrasts with the stagnancy and deterioration of her mother. Touching her mother instills stifling anxieties of death and decomposition, the limit of possibilities - "la forme et l'essence divine / De mes amours décomposés". She still has a life ahead, and hence must venture into those fairy tales and badlands.Becoming the nomadic voyager, wandering about. Dreaming and playing. Feeling the full spectrum of emotions. The unicorn and the dragon. Multivariate and recombining flinches of desire, sadness, happiness, loneliness, abandonment, comfort, disappointment, surprise, danger, warmth, coldness, excitement, pain, pleasure, ... transitions between various intensive states and interactions with a significant other, who's active and feeling too, differently, but reciprocally, within a changeable complex relationship.Finally one has to digest the trip, make time for thought. The past becomes another series of photographs, pages of diaries, details, conclusions, and material mementos. And then one continues on, indefinitely."There's so much I want to say. But I don't know where to start."

User100 The film is beautiful and innovative, though I couldn't help but feel disturbed that the parents of the 16 year old actress allowed her to be in scenes where she's so graphically raped and sexualized. I literally felt just as disturbed and distracted by this as I was affected by the film itself.This could be because I know people who were sexually abused as children, and I've worked with child actors who later look back at that graphic kind of exposure and ultimately see it as detrimental to them and their lives. I think it's unfortunate and premature to expose a such a young actor to this.

hannahrittner I Believe in Unicorns is a poetic and deeply intimate film. Its greatest achievement is how it conveys the loss of innocence as a teenage girl discovers womanhood/independence through a road-trip with her boyfriend. However, this newly discovered freedom seems to be just as disturbing as the home life she seeks to escape. Meyerhoff depicts through stop- motion and an effusive color-palette the POV/Internal life of our main character--Davina. There are unicorns, knights, princesses--it's a narrative of mythology to describe how her childlike internal world is trying to make sense of the looming chaos of her adult life. This film does not depict the empowerment of love but is a cautionary tale for the relationships we chase when we are looking to escape our circumstances. And through this cyclone, we see Davina's mythological internal world crumble as her external one transforms. This film is sophisticated and confident in its approach. It commits to one story/character- rather then a feature aiming to dizzy us with a multitude of sub-plots. The two stories can arguably be distilled to Davina's romance with Sterling and the adventures of her mythological internal world. As a result, you leave feeling you know this person like a best friend or a lover. (A testament to Natalia Dyer's acting). This is a treat given cinema's ever-growing plague of saccharin and one-dimensional female characters. What you learn about Davina is not just magical--but it is terrifying. And the fact that Meyerhoff gives us such a close portrait of a teenage girl is nothing short of daring (things don't just boil down to getting the romantic interest and being happy--there is nightmare that looms from even chasing one)--from first sexual encounters (the squeaky awkwardness) to finding true love for an imaginary princess. This wide spectrum exists in Davina. I only look forward to meeting more of the characters Meyerhoff brings to life.

gerald_valnderlaan I like this film. It has got heart, it has good intentions for the cinematic language that I so adore. I feel like the filmmaker is earnest and thoughtful with the script and the performances are very strong and show a lot of talent on her cinematic future. However, I've been following this movie online and keep seeing photos of the filmmaker, Meyerhoff at festivals. Great right? Well, yes and no. Yes, it's great the film is getting out there, it should! No because it's more that a little embarrassing to see a 38 year old woman wearing a unicorn prop on her head, as though she's so desperate to hype her film that she'll turn into a corny advertisement. Is this what cinema has come to? I should hope not, not in the cinema I know. I get it, you're supposed to do something "striking" and "wild" to stand out, but Miss Meyerhoff, if you need to walk around with a toy horn on your head to get press on your film, or to get attention, well that's just sad and pedestrian. Have some pride in yourself and your work. You are a talented filmmaker. Please take the horn off and have some respect for yourself, your collaborators and most importantly, for cinema.Besides the corny advertising, as a critic I do recommend the film. Don't let the harsh truths discourage you. It is a VERY strong film!