3.7 stars. A slow-burning yet incisive investigation into how trauma can confuse space with place and past with present. Not an easy film to love, but an easy film to admire. Provocative in the way it sets anarcho-primitivism against neoliberalism. I need to convince my best friend to watch it to challenge his romantic belief in Charles Manson as having done nothing wrong, but also people who demonise him too readily
Recourant sans cesse à de subtiles interférences visuelles et sonores entre le présent et le passé, plaçant ainsi son héroïne dans une fragile et tangente apesanteur qui insidieusement invite le malaise et la confusion, le réalisateur parvient à composer un personnage éminemment borderline, soutenu par une exceptionnelle composition duelle d'Elizabeth Olsen, une actrice à suivre... www.cinefiches.com
The horror of being trapped in dependency, in a world without real choices. Great buildup, more than fitting touches of Polanski. The abrupt ending eloquently reframes the story as a plea for communication. (Side note: Olsen would make a great lead in a Debbie Harry biopic.)
Too many "cult" films focus on propaganda as if there are keywords that cause all who listen to them to fall prostrate at a masochist's feet. MMMM rightly revolves around three elements instead: emotion, ambiguity, & their intersection. Durkin makes it work because, like Hawkes' character, you feel immediately as if you are in good hands, and then it messes with you in deep and frightening ways.