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The Neo-Lolita Horror of ‘Lamb’

Oona Laurence is a remarkable actor. Barely a tween (and a small tween at that), she is technically a child actor. But because she’s hampered by none of the people-pleasing tics that doom most kid performers, it feels more accurate to simply describe her as an actor; if she chooses to, she’ll probably be just as deft at using her age as an instrument seventy years from now. Already she can look like an old woman in repose, which I attribute to the old-soul sadness she channels in films like last year’s “Southpaw” and “I Smile Back.” It is the grief of children who’ve already learned to cry without expecting comfort, and she takes it to new levels as the protagonist of “Lamb,” the adaptation of Bonnie Nadzam’s unsettling 2011 novel.

Laurence plays Tommie, the runty eleven-year-old daughter of parents (Lindsay Pulsipher and Scoot McNairy) so checked out that they don’t even bother to look up from their beers when she comes home in the middle of the night. She’s ripe, in other words, for some adult attention, which comes in the form of forty-seven-year-old David Lamb (Ross Partridge, tripling as writer/director), whom she approaches in a parking lot on a dare. Decked out in heels and a forlorn pink purse, she asks him for a cigarette while her friends titter; ostensibly to teach her a lesson, he hustles her into his SUV and then drops her off at home. Continue Reading →

On ‘Anomalisa’ and Meta-Narcissism

“Anomalisa” may be the most meta-narcissistic movie ever written by Charlie Kaufman, which is saying a lot given that he also wrote “Adaptation,” “Eternal Sunshine of the Spotless Mind,” and “Synecdoche, New York.” It also is not necessarily a slam. Like Lars von Trier, Kaufman has an uncanny ability to globalize his solipsistic sadness with such psychogenic flair that he makes us believe nihilism is a legitimate form of creation. It’s the ultimate inversion of the old hippie phrase “think global, act local,” and, against all odds, it usually works. Alas, it only sort of does in this catalogue of depersonalization masquerading as a love story – perhaps because its subtext reads as supertext in a way that doesn’t stimulate the senses so much as bum them out. Continue Reading →

‘45 Years’: Rampling’s Many Looks

“45 Years” opens with a sixty-something woman walking briskly along an English country path. It is a grayish morning but not an unappealing one, and she is humming “Smoke Gets in Your Eyes” as she walks her dog on a leash. The song proves prescient: She greets her postman, enters her modest Norwalk home, hands the mail to her husband as he is groggily sipping his tea, and then watches her life explode, though it takes the duration of the film for her to realize what she has witnessed.

The woman is Kate (Charlotte Rampling), and her husband, Geoff (Tom Courtenay), has just received a letter stating that the body of his long-lost sweetheart has been discovered, perfectly preserved, in a Swiss glacier fifty years after she went missing on an Alpine hiking holiday the two had taken together. “It was a fissure – like a narrow crack in the rock,” says Geoff of the fault that claimed the woman’s life, but he may as well be describing the fault that will now splinter his marriage. Kate, with whom he is poised to celebrate his forty-fifth anniversary, has heard virtually nothing of this girlfriend he calls “his Katya” and for whom he has been named next of kin. Thus this film, directed and adapted by Andrew Haigh from David Constantine’s very fine short story “Under the Dam,” is a ghost story with no real ghost, not to mention an infidelity tale with no real infidelity. Continue Reading →

"All, everything I understand, I understand only because I love."
― Leo Tolstoy