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With their similar experiences of childhood illness, where they were separated from their parents "for the good of their health", it seems natural that they should grow to depend on each other. Even now that they're older their parents don't understand them and their vivid imaginations. A whole fantasy world (Borovnia), with a royal dynasty and populated by plasticine figures, emerges from their close discussions. In minute detail they plot the lives of every character, the palace intrigues and the scandals which rock this parallel universe. This is a place where they have total control and can escape to, together, when everyone else becomes too bothersome (who else can understand their genius!). Pauline's parents don't mind their insular behaviour but Henry Hulme (Clive Merrison) becomes a little concerned (being the sort of person who allows himself all sorts of liberties but doesn't see why anybody else should have that freedom).
However, tuberculosis intervenes and forces the girls apart (Juliet is isolated in hospital for several months). Communicating by letters, at a tremendous rate, Pauline has the bright idea that they write as if they were their fictitious characters. This only tightens their bond, to the absolute exclusion of others, and increases their mutual dependence. From the parents point of view this is somewhat unhealthy (which is partly true) and they decide that Juliet will go to live in South Africa (her mother and father are divorcing and it'll be "good for her health"). With a rising sense of desperation they declare that they'll never be parted, for they can't bear even a day apart. Despite this desire, they are both young and Pauline doesn't have a passport, so they can't escape to Hollywood. It seems, to their fevered minds, that there is only one obstacle in their path though and that's Pauline's mother. She'll have to go.
Essential to this story is a convincing atmosphere of intense infatuation and an unstoppable drive towards self-destruction, which Heavenly Creatures has in abundance. Mixing fantasy and reality, Jackson creates a world of unbounded possibilities - it feels just like we're inside their blended egos. Every scene seems to contain a twist, whether an unexpected reaction or a dizzying camera shot, which cumulatively builds the film into a creation of extraordinary beauty. The acting by Winslet and Lynskey is excellent, treading a fine line which avoids overt lesbianism but suggests deep attraction, while the supporting performances are fine also. The obsessive aura is further reinforced by voice-overs of Pauline's actual diary, an inspired addition. From a director who's previously been associated purely with gore-fest horror flicks, this is a memorably lyrical, disturbing and moving tale. There is no moral but it feels as though there should be.
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