An art student taps into a rich source of creative inspiration after the accidental slaughter of her rapist. An unlikely vigilante emerges, set out to avenge college girls whose attackers walked free- all the while fueling a vivid thesis exhibition.
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A vigilante film for the college-rape era that's predictable in its ordinary revenge plot turns that lack a uniqueness in their telling. M.F.A. is just as topical as Ms. 45, but it's also never as emotionally devastating or confrontational as that film. Stronger, however, is how the initial side-characters (especially Eastwood's friend) become more dimensional. If only, the whole was more inventive and dangerious.
An unvarnished, no-nonsense takedown of on-campus rape culture that stays firmly in its topical lane, mostly to its benefit. No surprises here in terms of structure or insight, but the brazen, bald-faced topicality of the thing is like a breath of chilly mountain air. Unlike rape-revenge films by male directors, MFA strips away the glamor from the vengeance narrative. Ms. Eastwood is captivating.
No, this is not the greatest movie. Nevertheless, it's an honest story. A real-life depiction of the system behind rape: its misconstructions, its cover-ups, its blaming of victims, its devastating consequences. The world is already blind, indeed. Most importantly, this movie shows women standing up for other women. Justice with vengeance is condemned, but supporting and prevention are here advised. Competent!