"Hall’s turn as Chubbuck — gangly, dark-haired, passionate, obsessive and more than a bit strange — is some of her best work to date, and Christine finally allows the reliably wonderful actress a chance to shine in a very tricky part. Chubbuck’s fate is one that still seems discomfitingly applicable to modern society." - Kate Erbland, IndieWire. 3.5 stars
3 stars for Rebecca Hall's compelling portrayal of the complicated emotions struggling beneath Christine Chubbuck's detached demeanor. 1 star for the flat ending which negates any lasting catharsis or pain that might have connected or resonated with the viewer.
It wasn't an easy task to re-enact this story that ends up revolving around sensationalism without using any sensationalism at all, but Campos made it effortlessly. Rebecca Hall is a true goddess. Maria Dizzia and Michael C. Hall are incredible too. Christine will haunt me forever.
Película que atrae por la historia a la que hace alusión. "Christine" sigue a una protagonista muy atractiva. Sus precedentes, manías y circunstancias en las que está envuelta la torna una bomba de tiempo por excelencia. Es interesante también la aparición de la madre, en principio, como si se tratase de una roommate, lo que hace precario el panorama íntimo de la protagonista. Lástima que tome una ruta convencional.
Imaginei que o filme fosse exploração da tragédia, corroborando com o sensacionalismo que a frustava profissionalmente. Mas "Christine" é sutil e revela que existe uma boa história por trás da história. A cena do jantar que culmina em terapia em grupo é um ótimo retrato de como podem ser danosas ações bem intencionadas de pessoas com pouca aptidão/ sensibilidade p/ lidar com quem está em sofrimento emocional
Rebecca Hall is spectacular and the lack of attention her performance got still stings me to this day. Unfortunately, Campos really fumbles the handling of Chubbuck's suicide. By showing the act in gory detail and focusing on the half-formed message of the piece instead of ending when she commits the act, his film ends on an exploitative note that feels like an insult to the woman at its center.
This film stands at the intersection of exploitative / sensationalistic media, mental illness, and the Nixon trial. However, Campos doesn't seem to find the thread that holds these themes together narratively, and because of this, the film is completely hinged to Hall's performance. Ultimately, she delivers, but the film does not.
Christine - far more concerned with the slow burning development of mental illness than sensationalism - successfully captures it's real life subject with compassion and understanding. The writer's own experience with depression makes the film almost autobiographical. Campos' empathy for Christine shows through and his influences from classics like Akerman to contemporaries like PTA shine without feeling ripped off.
During it's first half you're convinced you have found the great overlooked film of 2016: the colours and the framing and the smart dialogue... it all zips along like PTA scripted by Aaron Sorkin. But it seems to lose something halfway through, with deepening pacing and construction problems. Yet it never takes away from Rebecca Hall's astonishing performance.