She Said

A fascinating, unapologetic deep dive into the investigative journalism of NYT reporters Jodi Kantor and Megan Twohey as they worked to bring to light the horrendous details of Harvey Weinstein's sexual misconduct. 

Based off a screenplay by Rebecca Lenkiewicz, director Maria Schrader offered a beautifully layered, touchingly cinematic retelling of a bombshell story that most would have already known the ending. The film was not exploitive and neither did it excessively or over-dramatically sensationalise the story, instead, Shrader et al deliberately humanised the story by offering insights into personal lives of the protagonists - Kantor and Twohey - and the less famous victims of Weinstein. And to that credit, the casting was phenomenal. 

Zoe Kazen was clearly the lead as Kantor and she carried the story with aplomb; and Carey Mulligan as Twohey, in a clearly supporting role, was as engaging and mesmerising as ever. Mulligan is definitely in the run for another Oscar nomination this year. However, both actresses were overshadowed by Samantha Morton and Jennifer Ehle. These two powerhouses played two lesser known victims - Zelda Perkins and Laura Madden - and their scenes were knocked out of the park. In particular, Morton, who only appeared in one scene which immediately after, one was left breathless and in awe, and with a keen realisation that that was why she was cast.

At just over two hours, many people may find it too long just because, in all honesty, this was a rather direct depiction of the drudgery of investigative journalism: chasing down leads, facing rejections, getting doors slammed at your face, etc. There was no over-glamourising of the profession or the hard work that Kantor and Twohey put in. Sure, there were some poetic licenses and magic wand waving for things to happen, but they never really distracted from the truth of the matter. These women worked hard to expose the systemic injustice that kept predators like Weinstein in position.

This story could only have been told from a woman's POV and it showed. The sensitivity in which Schrader et al handled the situations were never exploitive or sensationalise. The women's pain and suffering were upfront and center, they were honest and raw, they were painful yet ultimately hopeful.

The only misstep was the angle in which Ashley Judd was inserted into the movie: as the hero of the story. This film - and the Weinstein story itself - did not really need a hero. If anything, the heroes would have been Twohey and Kantor for chasing down the truth. But yet, they never did seem to accept or portrayed themselves in that role. And rightly so. 

Nicholas Britell's score was gorgeous and he is definitely one to watch out for. His Andor score has been sublime! Natasha Braier lensed the film, and those diner scenes between Kazan and Zach Grenier were sumptuous!

Mulligan is definitely a shoo-in for an Oscar nomination, and possibly a clear chance of winning now that Michelle Williams is out of the running. The film might have a shot for one of the ten Best Picture nods and also possibly Best Adapted Screenplay. 

Oscar season has definitely begun!