Directed by Sebastian Lelio
Starring – Rachel McAdams, Rachel Weisz, Alessandro Nivola
The Plot – Based on the novel of the same name by Naomi Alderman, the film follows Ronit (Weisz), a woman returning to the community that shunned her decades earlier for an attraction to her childhood friend, Esti (McAdams). Once back, their passions reignite as they explore the boundaries of faith and sexuality that test everything else in their lives.
Rated R for some strong scenes of sexuality.
– Subtle, patient storytelling by McAdams and Weisz that meticulously fills in the blanks of their reputation together. Most of this respect goes to Lelio in telling the story that doesn’t require a single flashback sequence or forced dialogue that doesn’t drift from anything other than a conversation between friends.
– Strong performances. Even though I didn’t feel the romantic chemistry between McAdams and Weisz as strongly as the film intended, the stripped down work of them trigger such authentic feelings of longing, torture and regret that have shaped their lives over the years. In this regard, the two women sink back into their union without a single day ever having an effect on it.
– Callous, grey cinematography by Danny Cohen that reflects not only the centuries old philosophy of the Jewish Orthodox, but also in the feeling of incomplete that is hard to ignore from the two leads. It feels like Cohen has brought along the same look and feels of his award-worthy work in ‘Les Miserables’, clouding the air like a poison that plagues this super conservative community.
– It’s nice to see an honest representation of the ages-old rules and lifestyles of the Jewish Faith. I fail to think of a film that has accurately shaped some of the marriage and sexual agreements between husband and wife that feel medieval or archaic when compared to today’s progressive standards. Quite often in the film, I felt like this movie took place in a different decade, but was quickly brought back down to Earth when technology or a dated automobile appeared.
– Lelio is a craftsman’s director at speaking out against causes that he fully believes in. As the director of this year’s ‘A Fantastic Woman’, Lelio goes two-for-two with films that capture the polarization of women deemed different by society, and omitting the prejudice that comes with those candid takes that could otherwise only be done by a woman. Sebastian is that great male hope of sensitivity.
– From the fabulous costume work to the musically enhanced Jewish hymns, this is a educationally subversive look of Jewish faith and traditionalism.
– Excellent camera work in angles and framing that shapeshift with the progression of the inter-changing relationships in the film. In the first half of the film, Ronit feels very much alone in her respective point-of-view, but as the film carries on we start to notice a lot more close distance in frame between her and Esti, as opposed to everyone else that just doesn’t factor in. This is visual poetry at its finest.
– I never felt the pull from Esti’s compromising situation to combat Ronit’s feelings of passion for her. What I mean is that it feels like Esti’s life is very much one of planned routine, so the struggle for which way to go ultimately underwhelms and feels obvious from the beginning. I wish the script would’ve done a better job of applying her stability and married happiness into frame to make the choice feel much more difficult.
– Sloppy first act that sometimes feels like scenes are missing. The death of Ronit’s father in particular feels lacking of definition, and I could’ve used more emphasis on the delivering impact of the moment.
– The third act developments give the film enough gas to sludge through, but it greatly takes away steam from the conflict at hand. While I overall didn’t care for the tacked-on sequencing of the film’s ending, that wasn’t the biggest problem. It almost feels like when the film’s conflict should be reaching its boiling high, we begin to simmer down into complacency, and that doubt from within suddenly creeps in that this is as good as it’s ever going to get.