Pushed over a metaphorical cliff, the two nonconformists in Josephine Decker’s “Shirley” — her follow-up to the mind-bending “Madeline’s Madeline” — bond over the maddening submissiveness expected of them, which they both come to furiously abhor. Their strange alliance makes for a psychologically layered portrait of unapologetic womanhood that’s dangerously sensual and sumptuously rebellious.
The film, which premiered at the Sundance Film Festival on Saturday, comes from a screenplay by Sarah Gubbins, which was adapted from Susan Scarf Merrell’s biographical fiction novel. Decker revives American genre writer Shirley Jackson (embodied by Elisabeth Moss) with a concoction of fact and magical realism, which may frame the film as a radically more exciting cousin to Stephen Daldry’s Virginia Woolf-centered, triptych drama “The Hours.”
Sensorial waves are sent through our systems right from the drama’s opening frames via cinematographer Sturla Brandth Grøvlen’s hypnotic camerawork and ethereal lighting.
The film, which premiered at the Sundance Film Festival on Saturday, comes from a screenplay by Sarah Gubbins, which was adapted from Susan Scarf Merrell’s biographical fiction novel. Decker revives American genre writer Shirley Jackson (embodied by Elisabeth Moss) with a concoction of fact and magical realism, which may frame the film as a radically more exciting cousin to Stephen Daldry’s Virginia Woolf-centered, triptych drama “The Hours.”
Sensorial waves are sent through our systems right from the drama’s opening frames via cinematographer Sturla Brandth Grøvlen’s hypnotic camerawork and ethereal lighting.
- 6/4/2020
- by Carlos Aguilar
- The Wrap
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