THE CIVIL DEAD (2022)

February 6, 2022

Slamdance Film Festival 2022

Greetings again from the darkness. What a terrific film to kick off this year’s Slamdance festival! Writer-director Clay Tatum and co-writer Whitmer Thomas co-star in their own story that brings the “old” meaning of ghosting back to the forefront. But fear not, this is about as scary as the clip from the classic cartoon “Casper the Friendly Ghost” that’s included. Rather than spooky horror, this is about comedic situations involving a particular ghost (not named Casper).

Clay (Tatum) is a frumpy slacker who fancies himself a photographer, but lacks the drive to market himself or his work. He does, however, think a different haircut might help, even if he wields the scissors himself. His wife Whitney (Whitney Weir) chuckles at the idea, but seems extremely supportive (or forgiving) of her husband’s lack of effort in life. While Whitney’s away on a business trip, Clay seizes the opportunity to eat and drink the hours away, somehow accomplishing less than he would on a typical day.

Displaying an unusual spark of inspiration, Clay crafts a scam to raise his share of the rent … proving his lack of drive might actually be his finest quality. Later, while out taking pictures, Clay runs into his old friend Whit. They may be from the same hometown, but there is something a bit off in their re-connection. Clay tries to part ways, but Whit’s having none of that – he’s thrilled to be seen by his old buddy.

Robert Longstreet adds a jolt of energy in a poker sequence that evolves into a slow-motion booze-filled musical interlude. It’s yet another example of Clay’s moral compass, but most of the movie revolves around the interaction between Clay and Whit … and that’s fertile ground for some laughs and a premise that works pretty darn well. The filmmakers start us with a prologue with a bump in the night, though we aren’t really allowed to understand it until near the end of the film. It’s a nice start to the festival and an impressive project from the young filmmakers.

**Slamdance Film Festival embodies its mantra: By Filmmakers, For Filmmakers. Though Slamdance has greatly evolved since the early years, its mission and organization remain the same. Slamdance serves new and emerging artists, filmmakers, and storytellers from around the world. Slamdance programmers gravitate towards films that embody the true spirit of DIY guerilla filmmaking.

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Posted by David Ferguson

THE WORST PERSON IN THE WORLD (2022)

February 4, 2022

Greetings again from the darkness. It’s often fun when an innovative filmmaker turns a stodgy genre upside down and offers us a new take. And who better to flip over the frequently stale mode of romantic-comedies than Norwegian auteur Joachim Trier? Co-written with his frequent collaborator Eskil Vogt, the film could also be described as a dramady or a thirty-ish coming-of-age tale. Regardless of the label, it’s entertaining and thought-provoking, as well as being a bit dark in parts (some of these also being quite funny). This is being called the final film in Trier’s “Oslo Trilogy”, three loosely connected films including REPRISE (2006) and OSLO, AUGUST 31 (2011).

Each of the films represents quite a shift in tone, and this latest revolves around Julie, played exceptionally well by Renate Reinsve. Trier structures the film as 12 chapters plus a prologue and epilogue. The prologue is brilliant and allows us to quickly grasp what we need to know about Julie. She changes her life goals multiple times – from doctor to psychologist to photographer, and later while working in a bookstore, she decides to be a writer. Thankfully we are spared the details in her essay on oral sex in the #MeToo era. Julie is impulsive to a fault. She has confidence but can’t commit to a direction – she’s confident in her uncertainty.

As she approaches 30, Julie is struggling to find her way. She’s not so much lost as struggling to deal with her jumbled thoughts. Can you lose your identity if you haven’t yet formed one? That seems to be the crux of Julie’s inner-struggles, even as she finds a seemingly good fit for a partner. Aksel (a terrific Anders Danielsen Lie) is a successful graphic artist, and he seems to understand Julie. Their relationship builds over time, even as their individual visions and goals diverge. The best life partner still comes with challenges when you still aren’t sure who you are as a person.

Julie feels herself slipping away, and that’s when her impulsive nature reappears. During a special event for Aksel, she walks out and spontaneously crashes a local wedding reception. This leads to a meet cute and flirty time with Eivind (Herbert Nordrum). Both he and she are in steady relationships, but only Bill Clinton could determine if the time Julie and Eivind spend together is cheating or not. Ms. Reinsve perfectly captures the spirit of Julie. Although she’s often a bit flustered, when she does smile, she radiates like a young Shelley Fabares.

Much has been made of Ms. Reinsve’s performance and she certainly deserves the accolades. However, we shouldn’t overlook the outstanding work of Anders Danielsen Lie in a difficult role. Filmmaker Joachim Trier’s previous work also includes THELMA (2017) and LOUDER THAN BOMBS (2015), and his creativity is most welcome. Two sequences stand out in his latest. In one, the world shifts into ‘freeze frame’ mode as Julie runs through the streets of Oslo to find her new love, and in the second, we follow her in the midst of a drug hallucination after experimenting with mushrooms. In the story, Trier focuses on the dynamics between partners and how the stages of life can complicate things. It’s charming and funny, but also quite serious, as he certainly doesn’t buy into the ideal that movies must have happy endings. In regard to the title, rather than describe Julie, it’s more likely meant to explain how many people think of themselves as they make decisions and mistakes – it’s really a show of humanity. And quite a good one.

Opening in limited theaters on February 4, 2022

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Posted by David Ferguson

JOCKEY (2021)

January 27, 2022

Greetings again from the darkness. “You gotta tell a horse when it’s time to stop running.” That line of dialogue is uttered in this racing film from writer-director Clint Bentley and co-writer Greg Kwedar, but the sentiment holds true for many others, including athletes, coaches, teachers, and politicians. For those who have spent their life pushing and driving, knowing when to stop does not come naturally. We learn this is so for jockeys, as well.

Clifton Collins Jr has long been one of our best and most intriguing character actors, and in a rare lead position, he becomes veteran jockey Jackson Silva. The man knows horses, but unfortunately, Father Time is catching up on the home stretch. Jackson is aging quickly as he fights to overcome a litany of injuries, including multiple broken backs. The timing for the end of one’s passion is never good, and it’s at this point where Jackson’s long-time trainer, Ruth (Molly Parker), introduces him to “the horse” … just in time for “the big race.” Sure, it’s all a bit convenient for a movie script, but it matters little, because filmmaker Bentley and actor Collins expertly capture the culture of racing in a naturalistic and organic way. Jackson carries himself with the quiet pride of a man who understands he’s spent his life doing what he was meant to do.

As if on cue, young aspiring jockey Gabriel Boulliet (Moises Arias) shows up and informs that Jackson is his father – the result of a long ago fling with Gabriel’s mother. Initially taken aback, Jackson and Gabriel form a strained bond through working out, training, and riding. In many movies, this story line would shift into eye-rolling melodrama, but that never occurs. Instead, filmmaker Bentley (whose dad was a jockey) maintains an organic feel by allowing a few real-life jockeys (including Scott Stevens and Logan Cormier) to exchange war stories. We hear firsthand accounts of the risks involved, and how these riders often become expendable.

Mr. Collins has westerns and horses in his acting bloodline – his grandfather shared the screen with John Wayne in RIO BRAVO (1959). It may not hurt that Collins is married to Clint Eastwood’s daughter, yet mostly he comes across as a natural fit around horses and the track. His subtle masculinity is balanced by Ruth’s ambition, and Collins shares a nice rapport with Ms. Parker, as well as with Mr. Arias. This is not the type of film where the horse racing takes center stage. In fact, we see no actual racing, and most of the riding scenes are performed in silence, rather than with the usual thundering hooves pounding the track. This is the epitome of a small movie and cinematographer Adolpho Veloso captures the intimacy of the characters. The story takes a backseat to the main characters, and we find ourselves right there in conversation with them.

Opening January 28, 2022

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Posted by David Ferguson

SUNDOWN (2022)

January 27, 2022

Greetings again from the darkness. How quickly we make assumptions and judge the actions of others. We all do it, and writer-director Michel Franco (NEW ORDER, 2020) seizes on this common human trait in this unconventional film centered on a man who simply doesn’t act like we expect him to. Because of our tendencies to judge, Franco is able to confound, even frustrate us, by slowly revealing details that we wouldn’t have guessed.

To pull this off, the filmmaker needs and receives a tremendous performance from Tim Roth. The actor takes a much different approach than his usual animated tic style, and here is exceedingly understated … so much so that we are a bit uncomfortable watching him. He rarely speaks and seems distant from the others. The film opens with a family vacationing in Acapulco. They are clearly well-to-do folks, as evidenced by the stunning resort suite. Neil (Mr. Roth) and Allison Bennett (Charlotte Gainsbourg) are on holiday with two older kids Colin (Samuel Bottomley) and Alexa (Albertine Kotting McMillan). Our assumptions about what we are seeing are in full bloom, and that continues when Allison receives a call about a family tragedy.

As the family frantically packs and rushes to the airport for an early flight home, Neil claims to have left his passport at the hotel and will catch the next flight home. Instead, the film and Neil take a much different path … one that leads to Neil becoming even more withdrawn. He moves into a cheap motel and spends his time lounging on the beach with a bucket of Coronas by his side. He befriends Berenice, a local played by Iazua Larios. Yet even then, Neil puts forth little effort to communicate. We keep asking, “What is wrong with him?” “What is he doing?” These are the same questions Allison asks when she returns to confront him.

As viewers, we are constantly revising the conclusions we previously jumped to as the details slowly eek out. This will likely cause frustration for some viewers, especially since Neil is not a likable guy – he just gives us nothing to relate to. Checking out from the pressures of one’s life is never as romantic as it might sound, yet Neil seems extremely comfortable with his decisions. Class and cultural differences are at play here, and it’s possible Roth and the film are at their best when answers aren’t being provided. At least that’s when the most tension is present. Franco’s film is an unusual one, and certainly not one that everyone will appreciate, but he and Roth give us plenty to digest.

Opening in select theaters on January 28, 2022

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Posted by David Ferguson

A TASTE OF HUNGER (2022, Denmark)

January 27, 2022

Greetings again from the darkness. I’ll try to avoid the temptation of including overtly cute food references … especially those that might leave a bad taste (!). Writer-director Cristoffer Boe and his talented co-writer Tobias Lindholm (ANOTHER ROUND, THE HUNT) have collaborated on a film that centers on the world of haute cuisine, and how it can impact the mindset and relationships of those immersed in what may be the most bizarre art form on the planet. Despite the strain of the co-working spouses, rather than describing this as a romantic drama, I believe it might be better termed an obsessive drama.

Maggi (Katrine Gries-Rosenthal) and her husband Carsten (Nikolaj Coster-Waldau, “Game of Thrones”) have been working together for 10 years to build a special restaurant in Copenhagen with the goal of earning a Michelin star. We see how committed to the cause they are, and while they appear to have a solid marriage and are decent parents, it’s clear the kids and the family are not the priority that the quest for that star is.

While most of us are challenged with balancing family and profession, the obsessive tendencies displayed by both Maggi and Carsten are a bit unsettling. To what lengths would you go in order to achieve your dream? At what point does that obsession negatively impact other aspects of your life, and when it happens, will you even notice? What happens if your young daughter … in this case Chloe (Flora Augusta) notices and is impacted?

Director Boe opens with the perfect quote from Kathy Acker: “If you ask me what I want, I’ll tell you. I want everything.” Of course, like everyone with this attitude before them, Maggi and Carsten discover their ego and obsessiveness carries a hefty price. Everything is not possible without sacrifice, which means everything is not possible. Boe also splits the film into cooking-related terms: Sweet, Sour, Fat, Salt, Heat, etc. It’s a tad tricky, but we can see how the labels fit each section. Another lesson we learn is that blackmail is never a good strategy when wooing a lover, but here it serves to confront Maggi with quite the dilemma

Food and obsession are two common movie themes, and here we get an explosive food obsession, although the food is merely the conduit in the pursuit of the award and the recognition that comes with it. Unbridled ambition is rarely attractive and often ends with a dose of disappointment or come-uppance. Director Boe, and two fine lead performances, give us a seat at the table for all courses.

A TASTE FOR HUNGER is being released in theaters on January 28, 2022

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Posted by David Ferguson

MUNICH: THE EDGE OF WAR (2022)

January 21, 2022

Greetings again from the darkness. It seems reasonable to ask why someone didn’t take it upon themselves to stop Hitler before things went so far. Of course we now have 80 years of hindsight to benefit our thoughts, but surely there were those who recognized the reign of terror brewing. The 2017 international best-selling novel, “Munich”, by Robert Harris, has been adapted for the screen by writer Ben Powers, and is directed by Christian Schwochow. It has the look and feel of a political spy thriller, right down to the clandestine meetings, smoking jackets, and heavy mahogany furniture in the conference rooms.

George Mackay (WOLF, 2021) stars as Hugh Legat, and Jannis Niewohner co-stars as Paul von Hartman. We first see them as 1932 Oxford classmates with their mutual friend, Lenya (Liv Lisa Fries) … one English, one German, and one Jewish. A ferocious disagreement over Hitler sent the three friends off in different directions. It’s not until late in the film that we discover what happened to Lenya, but the bulk of the story features Hugh as an attaché to British Prime Minister Neville Chamberlain (Oscar winner Jeremy Irons), and Paul as a German diplomat under the Fuhrer (Hitler is played by Ulrich Matthes who was Goebbels in DOWNFALL).

The timeline revolves around the build-up to the 1938 Munich agreement, just on the brink of WWII. Chamberlain remains focused on avoiding war, while Paul has secured documentation proving Hitler’s plan goes far beyond taking on the Sudetenland area of Czechoslovakia. Paul remains loyal to his homeland, but understands Hitler must be stopped. Working with Helen Winter (played by Sandra Huller), his co-conspirator and paramour, they devise a plan to get the documents to Paul’s old friend Hugh, in hopes that he will deliver to Chamberlain so that Hitler’s vision of domination can be stopped.

This is a dramatized and fictionalized version of what transpired, and Chamberlain’s legacy is still debated to this day. Did Hitler outmaneuver him or was Chamberlain buying needed time to build up the military and garner strength with allies? It’s great fun to watch Mr. Irons jump into this role, even if this is a favorable and somewhat forgiving view of Chamberlain’s approach. The tension is created as old pals Paul and Hugh secretly unite in cause, and is especially present in a scene where Paul is alone with Hitler. Unlike Chamberlain, the goal of the former classmates is to stop Hitler, not just stop or delay a war.

History buffs may cringe a few times, but for an entertaining political drama inspired by history, the film delivers enough to keep us interested. The weakest links involve Hugh’s struggles at home with his wife Pamela (Jessica Brown Findlay), who doesn’t understand why her husband can’t explain to her what’s happening at work. Performances from Mr. Irons and Mr. Niewohner are quite interesting, as is the provided quote, “Hoping is waiting for someone else to do it”.

Available on Netflix beginning January 21, 2022

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Posted by David Ferguson

PARALLEL MOTHERS (2022)

January 13, 2022

Greetings again from the darkness. As a devoted follower of films by Almodovar for more than 35 years, I still find myself enchanted by his stories, his visuals, his characters, and his consistency in writing complex and engaging parts for women. Oscar winning writer-director Pedro Almodovar’s last film, PAIN AND GLORY (2019) may be considered his semi-autobiographical masterpiece, but this latest proves he still has much to say, and will do so with his customary flair.

I often write about a filmmaker ‘delivering’ a film, and in this case, Almodovar literally serves up dueling deliveries in the maternity ward. The births are edited for a bit of comedic relief, but the sequence also makes the all-important point about the connection between the two mothers. Oscar winner Penelope Cruz stars as Janis, a woman pushing 40 who has a fling with married Arturo (Israel Elejalde). He’s the forensic archeologist working on the project to excavate a mass grave from the Spanish Civil War rumored to hold the remains of relatives of Janis, as well as others from the community.

While awaiting the birth of her child, Janis meets her roommate Ana (a terrific Milena Smit), a 17-year-old who is much less thrilled than Janis at the thought of becoming a mother. The two women of different ages, different attitudes, and different, yet similar, situations give birth on the same day at the same time – each becoming a single mother. The exhausted women have no clue of what is to cause their lives to become intertwined and push the story forward. While in recovery, we are introduced to each women’s support. Janis’ lifelong friend Elena (played by Almodovar favorite Rossy de Palma) bursts into the room (and onto the screen) in a flash of color and smile. On the other side, Ana’s narcissist mother Teresa (Aitana Sanchez-Gijon) immediately begins recounting her latest audition, which could lead to the big break in her acting career. As an afterthought, she then asks about the babies. We learn so much in these few minutes.

This becomes the story of the two women and their babies, yet always hovering is a story about the history of the country, and the families affected by the Spanish Civil War atrocities. The story structure isn’t seamless, but then neither is life … especially of those impacted. Past and present have unbreakable links, as do the generations of strong females who carried on. As Janis pursues the archaeological dig, we contrast that with the self-centered Teresa who states, “I’m apolitical. My job is to please everyone.” Of course, by the end, Janis, Ana, and Teresa have all grown as people after facing morally challenging dilemmas.

This is Penelope Cruz’s 8th Almodovar film, and, to no one’s surprise, she excels in the role of Janis. It’s unfortunate that very few actors receive Oscar recognition for Foreign Language films because her work stands with that of any actor this year. Almodovar is a master, and proves time and again that melodrama is not a taboo approach to storytelling when handled properly. On display throughout is his trademark use of color – in clothes, cars, art, and yes, the hospital room. Even his closing credits are stylish. Frequent Almodovar collaborators include Production designer Antxon Gomez, composer Alberto Iglesias (heavy on the strings), and cinematographer Jose Luis Alcaine … and what a team they make. The film can be viewed as a tribute to (and reminder of) the history of Almodovar’s beloved Spain. He even includes a fitting quote, “History refuses to shut its mouth”, something he works to ensure.

Opens in select theaters on January 14, 2022

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Posted by David Ferguson

A HERO (2021, Iran)

January 4, 2022

Greetings again from the darkness. “Oh, what a tangled web we weave, when first we practice to deceive.” That line from a Sir Walter Raleigh poem hit me early, and stuck with me through this latest superb film from Iranian writer-director Asghar Farhadi. Having won me over a decade ago with A SEPARATION (2011), and again 5 years ago with THE SALESMAN (2016), Farhadi excels at pushing our buttons on the complexities of human nature.

Rahim (Amir Jadidi) receives a two day leave from debtor’s prison, and has reason for optimism. He has a legitimate plan to make good on his debt and gain his release. A taxi drops him at the tomb of Xerxes where his sister’s brother Hossein (Alireza Jahandideh) is working on the preservation. Rahim, a low-key guy with an easy smile, asks Hossein for help in brokering a deal with Bahram (Mohsen Tanabandeh), the man who paid off the loan shark on Rahim’s behalf, and filed the complaint that sent him to jail.

The divorced Rahim meets up with his secret lover, Farkhondeh (Sahar Goldust), to cash out the 17 gold coins she recently found. Unfortunately, the exchange rate is less than expected, and worse than that for Rahim, Bahram refuses to accept the partial payment in conjunction with a promissory note. This leads to the aforementioned ‘tangled web’ and allows filmmaker Farhadi to do what he does best … cause us to question everything.

The web involves Rahim, Bahram, the jailer, and a local charity that gets involved for what is initially termed the actions of ‘a hero’. But that’s just the tip of who gets dragged in, and that includes Rahim’s son, who has a significant speech impediment. So what happens? Well, without giving anything away, we learn there’s a fine line between a lie and the truth, and between a heroic act and manipulation. In fact, Farhadi has us questioning what it means to be a hero. What impact does media attention have? Is it heroic to do the right thing? What if that thing also helps you?  What role do the reasons for your actions play?

Rahim faces a steady stream of moral forks in the road. Which path to take at any given time has ramifications on him, his situation, and countless others. As the fibs pile up, soon others are lying to help you or telling stories to hurt you. There is so much grey area here, we can’t be certain whether black and white even exists. Farhadi’s film seems like a simple story about a simple man, but neither the story nor the man are simple. It’s not about the money, but the money reveals character. Reputation and integrity are on the line. We may first root for Rahim and jeer Bahram, but upon reflection, we likely shift our support. This is Iran’s submission to the Academy, and it’s a good one.

In theaters January 7, 2022 and streaming on Amazon Prime January 21, 2021

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Posted by David Ferguson

CYRANO (2021)

December 31, 2021

Greetings again from the darkness. Filmmaker Joe Wright has proven how adeptly he can re-make a classic love story. You’ll likely agree if you’ve seen his versions of ANNA KARENINA (2012) and/or PRIDE AND PREJUDICE (2005), which are in addition to his best film (also a love story), ATONEMENT (2007). Working from the terrific script Erica Schmidt adapted from Edmond Rostand’s 1897 play, Wright delivers a musical version of Cyrano de Bergerac that delivers all of the intended “panache” of the original tragic-romance.

Peter Dinklage (THE STATION AGENT, 2003) stars as Cyrano, a master swordsman and orator who entertains with words that cut like a surgeon’s scalpel … except when he’s weaponizing those words for love. Haley Bennett (SWALLOW, 2019) plays Roxanne, the secret object of Cyrano’s desire, though she views him as but a close friend and confidant. Instead, her gaze is upon the newly arrived Christian (Kelvin Harrison Jr), a virile and handsome man lacking the charisma and common sense required to court Roxanne. This dilemma lends itself to the melding of Cyrano’s word being delivered by the preferable packaging of Christian.

Rather than Cyrano’s oversized nose, the film uses Mr. Dinklage’s diminutive stature and feelings of unworthiness of Roxanne’s affections to create the division, and yet it’s the musical aspect that takes a bit of getting used to. Dinklage excels in the film’s best sequence, as early on he humiliates a poor stage actor, a rebellious act that ends in a duel … entertaining for the play’s audience as well as us as viewers. It’s the connection between Cyrano and Christian that leaves us missing the good stuff. It all happens quickly and efficiently, rather than a slow transition from foes to partners. The film is at its best when Cyrano’s loneliness is at the forefront … Dinklage excels in these scenes. In fact, Wright and the actors (Dinklage and Bennett) nail the ending which packs the punch Rostand intended.

Mr. Dinklage has long been married to the film’s screenwriter Erica Schmidt, and Ms. Bennett and director Wright have a daughter together. These ties may have contributed to the effectiveness of the best scenes, though we do wish Ben Mendelsohn (as De Guiche) had a bit more screen time. The three most well-known film versions are CYRANO DE BERGERAC (1950) starring Jose Ferrer, ROXANNE (1987) starring Steve Martin, and CYRANO DE BERGERAC (1990) starring Gerard Depardieu. Wright’s latest version is set apart with the musical aspect, and certainly the Dinklage performance ranks amongst the best. Edmond Rostand’s play was a fictionalized version of the life of Savinien de Cyrano de Bergerac (1619-1655), but the romance, ego, and self-doubt applies to all eras.

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Posted by David Ferguson

SPENCER (2021)

December 30, 2021

Greetings again from the darkness. “A fable of a true tragedy.” Such is the cautionary sub-heading that director Pablo Larrain begins his latest film. As in his 2016 film, JACKIE, the director turns his lens to an icon of which both too much and too little is known. The screenplay is written by Steven Knight (DIRTY PRETTY THINGS, 2002), and it takes place in the early 1990’s not long before the official marital break of the Prince and Princess of Wales. Much of this movie occurs in the muddled mind of Lady Diana through surreal dream sequences and imagined internal mental imagery.

You may find the holidays to be a stressful time, but what we see in Diana are the results of unrelenting pressures: media, royal family, a husband’s not-so-secret relationship with another woman, and yes, the somewhat absurd Christmas traditions of the institution into which she married. Kristen Stewart plays Diana, and we first see her lost on the back country roads trying to drive herself to Sandringham Estate, the site of the festivities. Arriving late (as she does throughout the 3 days covered here), Diana is confronted by Major Gregory (Timothy Spall), a military man hired by the royal family to keep the media at bay and to ‘spy’ and report on Diana’s every move … including the traditional holiday “weigh-in”, a particularly discomforting event for the Princess with an eating disorder.

It seems the only ones happy to see her are the kids: William (Jack Nielen) and Harry (Freddie Spry). Their relationship is much how we have imagined – lots of mommy time with some royal lessons thrown in for good measure. A book on her life leads to Diana’s encounters with the ghost of Anne Boleyn, the second wife of King Henry VIII, whose path is one Di would prefer to avoid. Her only confidant is her dresser Maggie (Sally Hawkins), the lone adult she can trust with actual thoughts and conversation. We quickly realize that, regardless of the size of the castle, Diana feels very much as if she has been caged by her situation.

Her emotional pain and anguish seems to multiply by the minute, right down to being forced to wear the pearl necklace – identical to the one Charles (Jack Farthing) also gave Camilla. Grasping for freedom, Diana tries to explore her nearby childhood home, now a relic of the past. The coat removed from a dilapidated scarecrow is yet another attempt for Diana to escape back to her simpler and happier life, and of course, we watch this knowing how her story ends.

The head chef, Darren McGrady (a terrific Sean Harris) is one of the few who holds a soft spot of empathy for the Princess, but her paranoia is only enhanced by such things as the sign in the kitchen that states, “They can hear you”, and a reminder from Maggie, “Everyone here hears everything.” Cinematographer Claire Methon complements the surreal feel with matching camera work, and Jonny Greenwood (PHANTOM THREAD, 2017) delivers one of his most unique and distinctive scores – both matching the oddity of the film and the captivating performance of Kristen Stewart. More psychodrama than biopic, director Larrain’s film is both interpretative and a bit sad.

available VOD (Amazon)

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Posted by David Ferguson

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