This film was not for everybody. It can definitely be classified as an art-house film. Writer/Director Josephine Decker had created an unexpected film that weaved a well-known subject matter into an imaginative and experimental tapestry that felt original. The result of which was a film that was oddly disconcerting, strangely affective and hypnotically mesmorising. And most importantly, a star is born in Helena Howard who with her debut in this film becomes one of the most exciting new, young actor to emerge in recent memories. Imagine this film as Lady Bird with mental health issues, and Howard as the next Saoirse Ronan.
The narrative followed a rather straightforward path and Decker expects her audience to pick up the details on their pwn. There were no spoon-feeding of backstory or expository motivations here. Events unfold and you are expected to keep up with the psychedelic unknown and immerse yourself into the experience.
In the end, it was a bit like the nature of the what Madeline's Madeline was about. Is your life yours? Or is it the people's around you? Am I experiencing my now or experience your now?
With regards to the mental health issues of it all, Decker handled the subject matter in a matter-of-fact sort of way. It was not really the focus but neither was it swept under the carpet.
And it all culminates in a show-stopping finale that Howard absolutely owned. Just that penultimate scene alone could be her Oscar-reel.
Howard was supported by veterans Molly Parker and Miranda July who were really there to allow Howard to act off on, but they definitely held their own.
At just 93 minutes long, this film could feel a lot longer for some, but to me it just went on by as I found myself engrossed in the story and was kept wondering how will it all end. Riveting.
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