In the 2018 film The Tale, director Jennifer Fox explores a childhood trauma by casting actors as herself at different ages, including as a grownup filmmaker. It’s a fascinating, unnerving bit of meta filmmaking, studying memory’s limits with almost reportorial curiosity. The Canadian filmmaker Sophy Romvari does something similar with the new movie Blue Heron, a semi-autobiographical piece whose structure loops in on itself, melding fact and fiction into a doleful portrait of a family tragedy. It has a softer touch than Fox’s film, though, and in that way perhaps obscures too much.
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The film opens sometime in the late 1990s. A family of five — three brothers, one sister, their Hungarian immigrant parents — move to a new home near the British Columbia coast. This seems like a harmonious enough occasion; the house has light and space, and life appears to settle
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