Filmmaker Todd Haynes returns with a tonally complicated feature about duality that will surely divide audiences. “May December” studies the phenomenon of tabloid infamy and how those who live through the experience try to continue with their lives after the dust has settled, if it ever does. It’s also disturbing, hilarious, harrowing, and heartbreaking, depending on which angle you choose to watch it from.
First released in limited theaters and now available on Netflix, this twisty tale follows the complicated life of Gracie (Julianne Moore). Years away from a newsworthy sex scandal involving an underage work colleague at a small pet store, she and her family are approached by a television actress named Elizabeth (Natalie Portman), who makes regular visits to study the life and family of the social pariah for an upcoming indie project. Making things all the more tangled in morally uncomfortable territory, Gracie has since married her victim and together they raise three children, including a set of twins planning their high school graduation.
Having come up in the world of low-budget art film with a penchant for high-camp and socially incisive irony, Haynes’ handling of this material walks on the razor’s edge of knowing absurdity and genuine emotional storytelling. Some have argued the movie is a dark comedy, and while certain elements wink at the camera, the deeper themes and the gutting scenes of honesty exchanged by the characters shouldn’t be perceived as punch lines. Camp, comedy, and melodrama sometimes overlap, but this director often uses these devices as points of narrative deconstruction.
As a movie on its own, your willingness to give in to its idiosyncrasies will determine your level of interest. Also, the intentionally obtrusive score may be a quirk too difficult to accept. What is undeniable is the concentrated technical craft on display and a multi-generational cast of incredibly fascinating characters. Charles Melton as Joe, Gracie’s devoted husband who’s never fully reconciled from their sorted history, Cory Michael Smith as the bitter and damaged son of Gracie’s first marriage, and all of the other supporting players imply dimensionality beyond what’s provided in the script.
Of course, the core of this project is a showcase of two actors turning in their most enigmatic and intimate portrayals yet. Moore plays bubbling vulnerability underneath an armor of forced public strength, while Portman compliments her scene partner with a mix of unease, empathy, and ambiguous fascination. This is a true acting two-hander that will be studied for some time.
‘May December” first piqued my interest because of its early comparisons to the 60s art-house classic “Persona,” by Swedish auteur Ingmar Bergman. And yes, that’s apparent when watching, especially in terms of Todd’s visual language. Discussions of consent and family loyalty are dissected, along with the Bergman-esq questions about the fluidity of identity, the unreality of trying to ‘project realness,’ and how that intention switches from an actor’s point of view. While easily one of the most remarkable films of the year, this is likely not for the casual NETFLIX curiosity clicker.
Grade: A -
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