Natalie Portman and Julianne Moore give brilliantly tricky performances as an actress and her scandalous subject in Todd Haynes' new drama.
I covered this briefly in my NYFF dispatch. Not as high on it as most critics. I'd give it three starts out of four for Haynes' ability to not only shift tones on a dime, but to change my opinion about whether successful camp can ever be intentional. (Until this movie, my answer was no.) This is a movie John Waters would have slayed. I wrote "Melton is the best asset here, and the only person who fully understands his character. Portman is in her own separate Southern Gothic movie, and I don’t know what the hell Moore thought she was doing" Melton's performance and the bonkers use of the Michel Legrand score save the movie. I don't know if I'm doing a full review.
Thanks Ty. Great writing, and context, as always. And thanks for the urban owl postscript!
I'm pretty sure I know what band Flaco went to hear in the East Village. I bet he was impressed.
Great writing Ty, so glad to reread this after watching the movie. You say it all so well. Made me think and rethink the intention. The butterfly metaphor is clear but that is about it!