In writer-director Karen Cinorre’s visually enthralling, stunning debut, Mayday, it’s a semi-Hobbesian “war of all against all,” except the first “all” and the second “all” fall strictly along gender lines, pitting semi-suspecting men, some all-too-eager to play the heroes in their own mind, against a tight-knit group of young women, ferociously skilled fighters one and all, just as eager to prove they don’t need or want men to save them. That most of Mayday is set not in our socially, politically, and culturally stratified world, but in an oneiric, upside-down Oz crossed with Lord of the Flies where a never-ending war resembling World War II rages in and around a sun-drenched coastline. Spoiler: The men don’t stand...
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- 2/6/2021
- Screen Anarchy
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