“May December” focuses on popular TV actress Elizabeth (Portman), who is set to star in a movie about a teacher Gracie (Moore) who is arrested and jailed with her students. Gracie and her student Joe (the revelatory Charles Melton) married and had several children. The film opens at about the same time as Elizabeth arrives in her hometown on Gracie’s waterfront and settles in on her visit with her unforeseen consequences. In order to find her role, Elizabeth tries to find Gracie’s charm, but the more she delves into her subject, the more her marital happy ending is eroded.
As he has done throughout his career,far away from heaven” and “carolHaynes uses melodramatic conventions to compelling effect, but here with a jolt of rich, unsettling humor. Elizabeth may be looking for her role, but Gracie has already found her once-in-a-lifetime role of surrendering herself to her own desires, and it’s a role that she’s taken with her waves of self-pity and monstrous narcissism. is doing perfectly. Playing with shifting tones and modes of realism, Haynes explores the intersections of real life and self as a performance, which once could have accompanied the demise of Joan Crawford, but also the likes of Carroll. The dramatic music, which was also the material of rich comedy, is developed on a daily basis. Burnett.
“May December” would be quite a seasonal double charge with “”.last summer, the latest work by French author Catherine Breillat. The wonderful Rhea Drucker plays a seemingly content, happily married lawyer and mother. Her carefully ordered world is greatly shaken by the birth of her husband’s 17-year-old son (Samuel Kircher). When the child arrives, takes off his shirt, and plays peek-a-boo under his drooping hair, it’s pretty clear where the story is going. But there is nothing obvious about the film, with shifting camera angles, shifting perspectives, and escalating psychological violence to create a highly complex exploration of desire and power.
‘Last Summer’ will probably continue at international festivals in the fall, but it’s unlikely to get the attention of some of the most exciting productions here. Most talked about was ‘Zone of Interest’, a soulful formalist work by British filmmaker Jonathan Glaser. Based on Martin Amis’ novel of the same name, the production takes place largely within the walled grounds of a house adjacent to Auschwitz. There, as plumes of smoke rise in the sky, a death camp commander (Christian Friedel) and his wife (Sandra Hüller) eat and raise their children while hearing a constant stream of screams, screams, and gunshots. and sleep in some way and lead their own lives.
