There are very few movies quite like Memoir of a Snail. Director Adam Elliot's previous film, 2009's Mary and Max, comes the closest to its artistic style and the balance of emotions. As long as he keeps making a feature-length film every 15 years, it's bound to keep being a unique experience, and therefore, the best kind of gut punch.
In Memoir of a Snail, reclusive, snail-obsessed Grace Puddle (Sarah Snook) tells the story of her life. Harrowing misfortune seems to follow her wherever she goes, and try as she might to overcome the sorrow, Grace finds herself separated from her twin brother Gilbert (Kodi Smit-McPhee) and spiralling into deeper and darker mental issues.
The strong and consistent contrast in every second of this film keeps what could be a dreary story charming and entertaining. Whether it's smaller details like Memoir of a Snail starting with a death, memorable characters like a boring, beige-loving couple who are also swingers, or the fact that this animated story is definitely not for kids, that simple balance takes audiences on an emotional roller coaster they'll be processing long after watching.
Grace's life feels like tragedy after devastating tragedy, leaving audiences clinging to every joyous moment, and feeling like every second of that joy has been earned. These moments can be as triumphant as Gilbert finding happiness out of spite, or as ridiculous as guinea pig sex ending in heartbreak. A boldly large range of mental health issues are dealt with, always with love, dignity and a morbid charm. Memoir of a Snail is spotless despite its grit and just as hopeful as it is devastating.
Snook leads a fantastic cast that adds to the simple sweetness of the film. The characters sound like the kids' shows that were always playing in the background of a rainy day, bringing comfort and sorrow to the characters they portray in equal measures.
Memoir of a Snail is wrapped up in such a neat, well-presented package for its target audience, it seems a shame that the heaviness and vulgarity that serve it so perfectly end up being somewhat polarizing. Having a very specific target audience is no flaw, particularly when the writing tends so well to their needs and expectations. It simply means there won't be a huge audience. Memoir of a Snail may not become a household name, but that's not the point. It is meant to be a film that will help so many people struggling with a huge array of difficult situations, ranging from poverty to body image to closeted queerness.
Adam Elliot has called his films clayographical, a combination of claymation and autobiographical, and it's clear that he's not only poured his own stories but love and tenderness into his movies. If only a few people watch Memoir of a Snail, and those people felt seen, less alone and in less pain from having seen it, then the movie has served its purpose.