It’s a failing of our society that we’ve allowed “interesting” to become a euphemism, a blandly veiled insult, something to say when no other praise comes to mind. Little in…
It’s a failing of our society that we’ve allowed “interesting” to become a euphemism, a blandly veiled insult, something to say when no other praise comes to mind. Little in life is more important than interest: having it, attracting it, identifying it in any crevice of the everyday, making it strange and fresh in the process.
At its heart, this is a Frankenstein tale, with the spindly, beautiful Bella its unlikely monster. Her doctor/creator is Godwin , a gnarled, facially scarred recluse and surgical genius whom she aptly and affectionately calls God. How Bella came to be is a secret best discovered in the course of the film’s snaking, globe-circling narrative, though a vertical scar at the base of her neck, hidden beneath a waist-length sheet of sable hair, offers a clue.
For the meekly besotted Max, it is unfortunate that Bella then encounters Duncan Wedderburn , a rakish, hedonistic lawyer who tells her that “polite society destroys the soul,” before promising to sweep her away, take her traveling and give her all the sex she wants. Given that she’s hitherto been strictly confined to Godwin’s rambling, curio-filled London townhouse, cultivating a keen interest in the outside world via atlases and her guardians’ unreliable tutelage, it’s an irresistible offer.
Any less brave or brazen a performance would likely sink amid the veritable firework display of formal technique and trickery which which Lanthimos illustrates his heroine’s dizzily expanding, distorted acquaintance with the world — a busy, swirling mise-en-scène that fuses chintzy matte-painting artifice with eye-popping digital effects to conjure the disorienting awe of childish discovery from a cosmopolitan adult vantage point.
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