Well aware of the history of cinema she’s taking on, from Ingmar Bergman to the more recent #MeToo movement in Hollywood, Odell is always in control, even when, for the viewer, her boundary-pushing is pit-of-the-stomach uncomfortable.
In X&Y, she does not take us by the hand; we’re on our own, possibly as frustrated as Trine Dyrholm is when she barks, “Are there any grown-ups in this production?” Alternatively, we can enjoy a stimulating ride teetering between the sublime and the ridiculous. Odell herself certainly does.