DCP at Lincoln Center (NY premiere; NYFF)
The movie’s a complete mess, but so is the main character, so I think it works?
As is the case with many directorial debuts from well-known actors, this does not have its visual footing—no shot is without an inexplicable moderate shake, and any sense of composition is just “character is over there, so you point the camera over there.” Very cinematographically noncommittal. But in an odd way, it all adds to a gradually escalating disquiet, befit for the uncomfortable transgressions of the men and women in the film.
Everybody in it is pretty fantastic, but that was all but assured. Colman has already proved herself to be one of the best actors of her generation.
It seems this year we’ve gotten to a point were we can show unabashedly terrible people on screen. Annette, Titane, The Lost Daughter—none make the screenwriting concessions that films usually implement to keep audiences from completely distancing themselves from the material. Of course, they’re all more complicated than just “terrible,” but what I mean is: these characters aren’t getting let off the hook (by the films themselves but even more so by the viewers). No easy redemptions. Maybe it’s a post-2020 cynicism creeping in, but it also just seems like a move toward less manicured, more morally complex characters. As another reviewer said, many people will see themselves in this and tear it apart, disturbed by their recognition. I consider that a success.
Note: Also, this gets points simply for casting a lead actress of over 40 (that isn’t Tilda Swinton). Depressingly uncommon for an American production.