Todd Haynes often presents us with characters going through, if not facing, extraordinary circumstances. Most of them take charge of their lives and the decisions that he makes, and in may decemberthose of Julianne Moore and Natalie Portman well that they are taken care of
The thing is Todd Haynes (Far from heaven, Carol) is like Pedro Almodóvar, a director who breaks down the female characters he himself creates very well.
If sexual relations are also the fertile ground in which the protagonists immerse themselves and sometimes emerge without burns or injuries, Gracie Atherton-Yoo (Julianne Moore) ended up in prison a quarter of a century ago when she was 36 years old and found out. with a minor under the age of 13.
“An age difference is one thing, but a relationship between an adult and a child is something else entirely,” Moore said at a press conference minutes ago.
Married with children, she had another “behind bars”, as we read on the covers of yellow magazines. Gracie worked in a pet store in Savannah, Georgia, and Joe, from a Korean family, was her assistant.
Julianne Moore receives Natalie Portman
Time has passed, but in the city things are still difficult for Gracie. And for Joe, as the relationship has continued, they’ve had more children and Joe is now the age Gracie was when the romantic relationship began.
But the film doesn’t begin with the characters, but with the butterflies that we will see being born from the cocoons. that transform Todd Haynes has perhaps never been so metaphorical in his successes.
Julianne Moore receives Natalie Portman
The couple receives Elizabeth Berry (Natalie Portman), the actress who will play Gracie in a film about what happened between 1992 and 1994. Famous for a television series, Elizabeth will research her character in a direct way. She’ll talk to Gracie—who hopes they treat her “better” and more nuanced—about her, Joe, and her ex-husband. She wants to understand the motivations of her character and will find herself in a mess that she herself may not be able to get out of.
“It’s the complexity, the moral gray areas that are most interesting,” Elizabeth says in an open chat with high school students… where one of Gracie and Joe’s daughters is.
The film is also about appearances, love, and the ways they adjust over the years, and not just the age difference when they first started their relationship. Gracie and Joe pretend or pretend to insist that they’re still in love, but in the privacy of the bed, that doesn’t seem to be the case, and Joe is exchanging text messages with another person at any moment, which speaks to a lack of interest. Between them,
New collaboration between the director and Julianne Moore, after Safe, Far from heaven AND amazedWhile her role is important, Moore has left the strings of who drives the story to Portman, who is just amazing at developing this actress who calls on what she deems necessary to help her build her role.
Charles Melton (the series riverdale) has the toughest temper in this relationship triangle and hasn’t had the best angle.
may decemberwhich is an expression in English and refers to a relationship with a large age gap, is independently produced, shot in just 23 days and is still looking for someone to distribute it, i.e. premiere, right in the United States .
The scene everyone is talking about is the one in the mirror. Portman and Moore are in front of one, Gracie is putting on make-up, and ends up putting on make-up for Elizabeth, and looking at the audience -through the game of the mirror- they begin to see themselves reflected in each other’s eyes. With or without nods to Ingmar Bergman, the moment is one of the best in film.
another for the palm
The other film in competition for the Palme d’Or was the only debut of the 21 in competition. Banel & Adamaby Senegalese director Ramata-Toulaye Sy, focuses on the title characters, a young woman and a boy from a Senegalese village, who just want to live together in an abandoned house, which has been completely covered by a sandstorm.
And what’s the downside? That Adama refuses to accept being the leader of the tribe, something he is destined for after his older brother’s death. Well, even the fact that Banel is the widow of Yero, Adama’s brother, might not help much either.
The film not only presents the female lead with her pants on -in more ways than one-, but also follows the African cinema tradition of open imagery, with strong color tones. it’s different four daughtersby the Tunisian Kaouther Ben Hania, Banel & Adama is followed with care and ease.
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Source: Clarin
