​I maintain a private coaching practice in Athens, Ga., and offer public classes, workshops and corporate wellness programs that focus on the topics of self-care, stress management, yoga, mindfulness, meditation, and Yamuna® Body Rolling & Foot Fitness
"A certified IIN holistic health coach is a trusted wellness guide and mentor that aims to motivate, educate, inspire and support you along your personal journey to a more confident, balanced and energetic life."
I received my training to practice Holistic Health Coaching from the Institute for Integrative Nutrition, the only nutrition school integrating more than one hundred different dietary theories - combining the knowledge of traditional philosophies with modern concepts and am certified through the International Association of Health Coaches™. I am privileged to work for IIN as a Coaching Circle Leader, helping to train hundreds of bright, caring and compassionate students from all over the world to become certified IIN Holistic Health Coaches.
As a mind-body health coach and educator, I seek empower my clients to explore and embrace a holistic and mindful approach to achieving their goals. I offer a variety of holistic tools, methods and integrative, therapeutic movement and fitness practices to cultivate and support physical vitality and mental, emotional and spiritual well-being.
I am driven by a sincere passion to awaken a true desire for radical self-care in others. I am committed to encouraging and empowering my clients to participate more consciously in their own personal growth. My favorite thing to do is help my clients create a completely personalized, one-of-a-kind “roadmap to health” that not only suits their unique body, lifestyle, preferences and goals, but is fresh, fun and exiting. I meet my clients where they are in the moment and help them cultivate sustainable self-care habits to last a lifetime, one step at time.
I am pleased to also offer Long-distance, Group and Corporate Wellness Coaching Programs. Reduce your health-care costs by avoiding preventable stress and illness and create a healthy, happy lifestyle for yourself, your family, your friends and employees!
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SCREENED AT MONSTER FEST 2016: Given its title, I wonder if the script for "Prevenge" at one point had a more explicitly sci-fi angle at one point, playing out as something much more in line with "The Terminator" rather than taking a darker route where, if its murderous mother-to-be earns the audience’s forgiveness, it’s a much more troublesome decision. I’d kind of like to see that movie sometime, but Alice Lowe seems ideally suited for this take, and she sure as heck makes it interesting.
More than most movies, even those films conceived as the filmmaker’s own star vehicle, Prevenge is made by and for Lowe, and specifically at that time of her life: After writing the script, she directed and acted in this film when she was about seven months pregnant. I’m not sure I can recall a movie so built around the lead actress’s pregnancy in quite the way this one is before - even Absentia, if I recall correctly, is more a case of writing it into the script after casting rather than being integral enough that it was more a necessity for the shoot than a challenge - and doing so is admirably ambitious; I’m not sure how many women would deliberately schedule the intense grind of making an independent film for their third trimester. As much as it likely, in some small way, freed Lowe up from having to think about the physical aspects of the performance as opposed to simply playing the Ruth’s personality, she’s a talented enough actress that this particular bit of authenticity likely wasn’t critical.
On the other hand, it does give her instant credibility with an audience often willing to simplify the idea of pregnancy when she goes to dark places. Ruth, see, hears her unborn child’s voice, and it often tells her to kill, because some person or other will eventually do her harm. It’s a brilliant twist on the usual plot of impending motherhood teaching a woman responsibility and self-sacrifice, as what Ruth is facing is not just the loss of independence and personal pleasure - for Ruth, impending motherhood is not just a fear of being unable to measure up to other people (or alternately repeating her own mother’s mistakes), but utter uncertainty that she’s doing the right thing at all. How can someone like her be a decent mother, even if her motives are good? Have all the changes to her body and the hormones affecting her mind made her someone else, who still has all the flaws she started with?
Ruth occasionally grapples with those questions directly - if she were completely ruled by impulse, she wouldn’t be terribly interesting - and those are some of Lowe’s most obviously great bits of performance, great moments of emotional release. She’s great the rest of the time, too, playing Ruth’s increasing alarm as being generally countered by her exhaustion and self-doubt. What’s most remarkable is that it’s not entirely a downer of a performance; Lowe presents Ruth as having a clear determination even if she doesn’t necessarily recognize it, a sense that she was fun and in love and may be more capable of pulling herself together than she thinks.
A big part of that is how Lowe gives herself some dryly sarcastic dialogue (and, sometimes most memorably, monologues and narration); she’s tuned into both the absurdity and the horror of her concept and sharpens these two knives on each other, never letting one overpower the other. She fills the movie with a good set of potential victims, clearly defined and given just enough eccentricity in their performance to make good temporary foils, but always used to good purpose. The story itself is deliberately fuzzy - Lowe doesn’t need the audience worrying about the mechanics or pondering the ambiguity - and that can sometimes make things drag a bit, but she can usually drag things back on course.
It’s a take on pregnancy that will likely make some uncomfortable - there is a sort of accepted narrative, and if Lowe goes that direction, she does so by trudging through the prickle-bushes near the clear path. In doing so, Lowe creates what is very much an individual story while still finding something broadly true.
After watching the first third or so of the grim psychological horror film “The Berlin Syndrome,” it seemed to me as if it was trying to approximate what might have occurred if “Before Sunrise” had been inexplicably placed in the brilliant but utterly unsuitable hands of Michael Haneke. After finally making my way through the rest of it, I changed my mind about that thought because if that had somehow happened, the results might have been ghastly but they almost certainly would have been interesting and both dramatically and psychologically sound. By comparison, this film is as grim and painful and nasty as can be but it is done in by a screenplay that is dramatically inert and focuses on two characters that it displays no particular interest or insight in.
Teresa Palmer stars as Clare, a shy backpacking Australian who has just landed in Berlin. One day, she meets Andi (Max Riemelt), a shy schoolteacher . Over the course of their initial meeting, a spark seems to grow between them as they discuss their mutual interests—architecture and photography—and are even mutually touched by the paintings of Klimt and that night, Clare goes back to his isolated apartment where, in a moment of abandon, she (and yes, I know I am ripping off “Back to School” here) lets him touch her Klimt. Unfortunately, her walk of shame is postponed when he leaves for work but fails to leave a key to let her out of his locked apartment. She is a bit annoyed, but not enough to skip out on some shower sex when he does return. The next day, however, not only does the same thing happen but she also discovers that the windows are double-paned and unbreakable and there are no sharp objects to be had inside at all. It is finally clear to her that Andi has no intentions of ever letting her go again.
On the surface, “The Berlin Syndrome” sounds like it could be a queasily effective drama in the manner of “The Collector” (1965), but it never really clicks. The screenplay by Shaun Green, adapting the novel by Melanie Joosten, is strangely uncurious about its two main characters. We learn virtually nothing about Clare’s personal history before landing in her situation and so we have no idea of how her captivity is changing her—when Andi starts photographing her bruised body and she starts twisting around into more overtly provocative poses, it seems to come from practically out of nowhere. While Clare is locked away, we spend a good amount of time with Andi as he tries to keep up appearances in the outside world but there is nothing particularly illuminating about this either (shocking, he seems to have some mommy issues). Finally, once all the details become set into place in the first half, the drama becomes increasingly repetitive and dull in the second before coming to its strangely rushed climaxed and while it is all presented with a certain degree of skill by director Cate Shortland (whose “Somersault” told another story of cruelty towards a young woman that was far more insightful) that nevertheless fails to make it anything more than a failed genre piece.
The actors are good, better than the parts they have been given, but unless you are trying to scare a young woman from traveling abroad, “The Berlin Syndrome” is a painfully unnecessary film.
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