As a seasoned film enthusiast who has witnessed the evolution of Jennifer Connelly‘s career since her days as a teen actor, I must say that “Bad Behaviour” is a refreshing and long-overdue showcase for her talents. The movie captures Connelly’s unique ability to portray complex characters with an understated intensity that resonates deeply.
At first glance, Lucy appears unlikely for a spiritual retreat, a fact she might admit herself. However, she yearns to participate, enduring the required silences and group discussions with the hope of achieving a form of enlightenment she doubts exists. As an embittered ex-teen actress, portrayed by Jennifer Connelly with an edgy, detached demeanor suggesting her withdrawal from polite society, Lucy’s prickly presence clashes sharply with the serene and nurturing atmosphere of the costly Oregon sanctuary she has joined, filled with quiet meditation and trust-building exercises. The tension between these opposing energies draws viewers into Alice Englert’s peculiar, captivating satire “Bad Behaviour” instantly, as the unsettling vibes seem poised to explode into something tangible and dramatic.
Nearly halfway through the movie, it becomes clear that Englert’s directorial debut is both startling and commendable for its raw, straightforward nature. It sets up conflicts that the film’s latter half, with its softer, more quirky elements, can’t quite match. Initially, the narrative weaves between Lucy and her daughter Dylan (played by Englert) to create a divided portrayal of women whose desires clash with their surroundings; once they meet, the focus shifts to a tense exploration of strained familial ties under difficult conditions. Unfortunately, this meeting blurs the sharp edges of the drama and theme. However, this is an innovative and promising work from New Zealand – it shares some genetic traits with the grimly humorous films of Englert’s mother, Jane Campion, who makes a brief appearance in the film.
Noteworthy is ‘Bad Behaviour,'” as it presents an unusually expansive and daring platform for Connelly, an actress who has achieved unprecedented box office success with “Top Gun: Maverick,” but whose introspective and edgy screen persona has been infrequently challenged by Hollywood in the twenty years following her Oscar win for “A Beautiful Mind.” Here, she exhibits a subtle yet vivid unease from the outset, already simmering with quiet ennui and discomfort as we first encounter her driving to Oregon. She phones Dylan from the car to alert her that she will be unreachable for an indeterminate amount of time while waiting for a paid-for realization. Dylan, who is working on a movie stunt in New Zealand, responds with calm indifference, suggesting that mother and daughter share a similar emotional detachment.
As I sat down to watch this film, I was immediately struck by the minimalist yet sophisticated setting, overseen by a spiritual guide named Elon. Now, Elon isn’t your typical charismatic leader; he’s unassuming and straightforward, but there’s an air of tranquility about him that hints at some deeper wisdom. Ben Whishaw delivers a captivating performance as Elon, balancing the lines between guru and con artist flawlessly. His advice may seem obvious at times, yet it strikes a chord because it’s exactly what we need to hear.
The main source of frustration primarily falls on Beverly, a shrewdly portrayed newcomer by Dasha Nekrasova, who is a superficial celebrity model, anxious about losing her youth and influence. Since Beverly has lost both, Lucy can deliver blunt truths that Elon might find too harsh. Initially passive-aggressive, the sharpness of Lucy’s character gradually becomes more overt as she confronts Beverly in a witty and tense standoff. This dynamic adds a spark and tension to Lucy’s storyline that is absent from Dylan’s narrative, which primarily revolves around her uncertain relationship with unattainable actor Elmore (Marlon Williams). Nevertheless, the two characters complement each other well, as they both insightfully explore the delicate balance between emotional honesty and polite reserve that women are expected to maintain. Simon Price’s concise editing effectively highlights these similarities, while Matt Henley’s cool, misty cinematography often places mother and daughter in similar lighting and atmosphere, even though geographically they are supposed to be far apart (the entire production was filmed in New Zealand).
After an unpredictably thrilling finale, Lucy and Dylan’s subsequent reunion makes the story more conversational and subdued. However, these conversations are often sharp and insightful, gradually leading to a conclusion that, though not necessarily joyous, seems reconciliatory and well-deserved, while staying true to the characters’ imperfections and self-absorption. Lucy admits to her daughter, “You’re going to have to forgive me, and then forgive yourself for taking so long to forgive me.” In Englert’s first film, spiritual growth clashes with toxic narcissism; it manages to extract a crumbled sense of release from the most problematic moments.
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2024-12-27 11:46