We already have Lilith Fair and Jezebel.com, so why not reclaim another mythic symbol of wicked femininity in the name of empowerment? The idea is intriguing and the style stripped to bare suspense—too stripped, in fact. It establishes its mood and atmosphere nicely, but it's only skin deep. The plot mechanisms of the finale don't pass the smell test, as if it'll give up psychology and settle for blunt force.
An interesting film with the central character void of morals, or so it seems. Rather than run from danger she seems to run towards it, and will stop at nothing to get what she wants, justifying her actions by revolting against the marriage she was forced into. The film keeps the suspense going throughout, but the suspense is based on what Katherine is capable of, rather than what she'll get away with.
This has got to be one of the year's finest films. Took me totally by surprise. I thought - going in - that this was gonna be another misogyny fest à la "The Salesman"/"Brimstone" where she'd be objectified & punished because she's woman. Not at all. She turns the tables around. Becomes empowered, savante & displays a cunning (almost Fincheresque) demeanor to get everything she wants: love and caring. She winds up ▽
A brutal film about power. About systemic power and personal power. I don't think this is a misogynistic film; those accusations seemingly arose from it sideswiping a lot of liberal audience member's pat expectations (judging by some of the comments I heard leaving a very middle class 'art' cinema). Come the end, consider who rises to 'the top' and why.
If you are able to suspend the utterly unbelievable premise that a young, repressed woman in 1865 is so hungry for sex (which we assume she has never been properly introduced to, let alone ever had) that she immediately falls in love with a man who forces his way into her room and begins to rape her...?
Theatrical director William Oldroyd makes a bold feature debut here with an adaptation of Leskov's 'Lady Macbeth of the Mtsensk District' resetting the tale in Victorian England. Florence Pugh gives a ferocious performance here well supported by the ensemble especially Naomi Ackie (Anna) and Christopher Fairbank (the father-in-law). Oldroyd's control in his construction of images is well evident.
Florence Pugh gives an incredible performance in this gripping thriller that will keep you on the edge of your seat the whole way through and has the feeling of Hitchcock meets Lars von Trier. This film also moves so fluidly that you will feel every emotion without even realizing it.
There is a glimmer of something truly worthy here. Sadly (and oh so distastefully), what would appear to be a movie about the oppression and suppression of women quickly devolves into an inelegant misogynistic freakshow. Florence Pugh is a poor actress wholly ill-fitted to the period, but is hardly alone here in seeming like an awkward party guest suddenly given lines to deliver. A clumsy masquerade, deeply ugly.