Irreverent & quiet at the same time. Like an Argentinian Almodovar. The same strange mix of characters and with an obsession with wealth and class. I loved the descent from 'buttoned up' good working girl who knows her place to Anarchist naturist.
"Hell is other people." Yet we see no director's attitude/judgment to any of the worlds, even when birds are getting killed. Fusion of the culminating scene and an old jewel: "I know they won't forgive this sin that is loving you, but I would like to know if those who judge me today have ever loved as I did. What I really, really want ..." "Este Pecado de Quererte". And at 1:20:00 a supremely acted transformation.
W/ its increasingly twisted deadpan humour and preponderance of static medium shots, comparisons of A DECENT WOMAN to the early films of Lanthimos makes sense, but it is definitely its own oddball thing. Juxtaposes a world of circumscribed work and soulless drudgery w/ an idyllic drop-out life of cast off clothes and cares. It gets dark. How dark? I don't want to give too much away, but a revolution is not a picnic.
I always wondered what nudists did during their day. It's nice to see that they have organized activities together and it's not constant orgies. Our heroine is a fairly compliant housemaid who becomes politicized through contact with the nudists. The film builds gradually to the explosive finale.
Two communities: one gated (with an electric fence) and the other open (free love and all the pizazz) intersect, interact, and eventually clash. Class warfare, deadpan humor, tantric love, with a final showdown on golf courts. A dash of Godard (Weekend), a bit of Lanthimos (Kinetta). In these desperate times, A Decent Woman is both inspiring and uplifting.
Rating a film right after the watch is a risk. A couple of minutes after the credits ended, and I would say that this did not work for me. I found good things about it, though. The stilness in it gets filled with an anxiety, a tension, that cannot be released because it cannot be identified. The narrative, the way scenes are built, make room for our own expectations and toughts. It's subtle yet in your face.
Understated visual comedy; awkwardness played for timing + an undercurrent of Lanthimos-like absurdism. Lands deadpan half the time, the rest something more like dead air, with an ending that plays, sadly, more to silly genre conventions (how has black comedy been allowed to become conventional?!) rather than delivering much follow-through on the film's valid social critique. Not bad, just forgettable.