Tag: Josephine Decker

Shirley

Posted on by victorfraga

In the year of 1964, the highly reclusive horror writer Shirley Jackson (Moss) and her husband Stanley (Michael Stuhlbarg) “welcome” two graduate students into their Vermont mansion, Rose (Odessa Young) and her spouse Fred (Logan Lerman). Rose and Fred are vibrant, optimistic and full of life. Shirley are cruel and offensive misanthropes. Shirley will attempt to hurt and humiliate the naive couple at every opportunity. Her equally unpleasant husband will support her in the very questionable endeavour.

Shirley wasn’t just a reclusive, who rarely ever left her large estate. She was also a sociopath. In the few occasions when she ventured out of her property, she helped to ensure that everyone in her surroundings felt threatened and mortified. Her actions included the the sharpest and meanest remarks, pulling scary faces and spilling wine on the sofa. Her gaze overflowing with hate and envy. She has Bette Davies eyes, complete with the bitchiness of Margo Channing in All About Eve (Joseph L. Mankiewicz, 1950). The difference between between Davis’s character and Shirley is that the latter is genuinely cold-blooded and brutal.

The heavy drinking and smoking author (who died just a year later, a the age of just 48), Shirley was attempting to find inspiration for her writing. No one could enter the room where she worked. She literally attacked Rose when she quickly looked at her latest words still attached to the typewriter. And this isn’t the only time that Shirley resorted to physical violence. Other ruses included feigning her death and forcing Rose to eat a “poisonous” mushroom. Plus she was hellbent on destroying Rose’s relationship with Fred, particularly upon finding out the young woman was pregnant. Rose and Fred put up with the abuse because they are strangely fascinated by Shirley and Jason’s repulsive yet magnetic demeanour.

Josephine Decker’s fourth feature fiction is crafted like a horror movie, with dark imagery, unusual angles and action confined mostly to one creepy Gothic mansion. It’s mostly effective, yet rather conventional for a director more used to formally complex and multilayered movies (such as last year’s Madeline’s Madeline). What the two films have in common is that they both examine a female character experiencing a mental breakdown.

The film presumably blends real with fictional elements, as Shirley never wrote an autobiography, and the screenplay was signed by Chicago playwright Sarah Gubbins. The ending is the most powerful and ambiguous part of the movie, when Shirley and Rose confront each other under very dramatic circumstances. Have the tables turned? Is there perhaps a scintilla of humanity in this profoundly bitter human being?

Shirley showed in the 70th Berlin International Film Festival, when this piece was originally written. It was part of the Encounters section. It was a hit in Sundance a month earlier. The film, which was exec produced by Martin Scorsese, premiered in the UK in October, as part of the BFI London Film Festival. It’s out in cinemas on Friday, October 30th.

Madeline’s Madeline

Posted on by victorfraga

The cat breathes and makes sounds. Little noises that inadvertently get behind your ears and stay with you while you are watching Madeline’s Madeline, the new feature by American director Josephine Decker. By tackling mental illness in the story of a young theatre actress in a manner that disrupts both style and storytelling, the director creates an invigorating audiovisual experience that has wowed cinephiles since its debut at Sundance last year.

Watching Madeline’s Madeline feels like being part of a very intimate dream. We become an integral part of the life of the protagonist, played by Helena Howard in a breathtaking debut. We see the action entirely through her eyes, as she becomes the star of an experimental workshop in a theatre troupe of New York. In the first half of the film she pretends to be a cat and a sea turtle. Next, she pretends to be a pig.

“In all disorder there’s a secure order” says Madeline’s teacher Evangeline (Molly Parker), who is very fond of the adolescent’s creative presence. Suddenly, the play begins to veer in an unexpected direction. The rehearsals are portrayed as improvised, emotional and sometimes chaotic. The same can be said about Madeline’s world. We get a grasp of Madeline’s troubled mental state as she stages her routine through her distorted point-of-view. We also learn that she has a dysfunctional relationship with her mother Regina (Miranda July).

Madeline is not the only one drifting. The visuals do of the movie, too. The camera work and editing include a playful use of the depth of focus, abrupt time jumps and images overlays. These resources handled by cinematographer Ashley Connor and the team of editors (Decker, Harrison Atkins and Elizabeth Rao) go hand-in-hand with our protagonist sense of self. Behind the unconventional and sometimes oneiric narrative, lies an intimate tale about growing up and surrendering to the artistic process. This is not a new theme in Decker’s work, who has placed her very own relationship with director Zefrey Throwell at scrutiny of the camera in their documentary Flames (2017).

Art raises more questions than answers. Madeline sees how her work on the play gets caught in her bond with her mother. Regina is overprotective, and attempt to solve her daughter’s problem with an excessive and damaging mount of nurture.

Howard is the true star of the film thanks. This is an unforgettable role. She walks through the streets of New York at night talking to strangers, while also emulating their mannerisms. This is a committed and surprisingly natural portrayal, and the tactics are both endearing and devastating. By the end of the film, the actress also gives a soliloquy worthy of an award.

The power dynamics between the three women at the helm the story change constantly as Madeline’s Madeline evolves into a more traditional depiction of a troubled mind. Decker’s daring conception of the energetic and fierce Madeline – a complex, lovable and unique character – reminds us of what experimental cinema can achieve. This is truly powerful stuff.

Madeline’s Madeline showed at the International Film Festival Rotterdam, when this piece was originally written. It is out in cinemas across the UK on Friday, May 10th. On Amazon Prime on Friday, July 12th.