For Roz (Robin Wright) and Lil (Naomi Watts), life takes a few unexpected turns in "Adore." When Roz’s husband (Ben Mendelsohn) gets a new teaching job in the city, she refuses to come citing their son Tom (James Frecheville) needing to spend his last summer before going away for school, in their home place. Remaining with them is the long ago widowed Lil and her son Ian (Xavier Samuel).
Lil and Roz are incredibly close, symbiotic in their bond.
This co-dependence is something their sons share with them. Director Anne
Fontaine zeroes in on the dysfunction, when one night, things go too far and
Ian hooks up with Roz, a woman he claims is his second mother.
As bizarre as that is, things get even weirder when Lil follows suit by hooking up with Roz’s son, Tom, at first acting out of a sorted revenge before it turns into something supposedly legitimate.
These two women break every “girl code” imaginable and strangest of all; they quickly come to enjoy each other’s newfound relationships. Their only concern is keeping their youthful beaus attention and bragging about how good the intimacy in their affairs is. Never mind, they are boasting about the other’s son.
As bizarre as that is, things get even weirder when Lil follows suit by hooking up with Roz’s son, Tom, at first acting out of a sorted revenge before it turns into something supposedly legitimate.
These two women break every “girl code” imaginable and strangest of all; they quickly come to enjoy each other’s newfound relationships. Their only concern is keeping their youthful beaus attention and bragging about how good the intimacy in their affairs is. Never mind, they are boasting about the other’s son.
As the film continues, there is not a shred of decency left,
among a single one of the film’s main characters. They are repugnantly
self-indignant, indulgent and unremorseful for anything they have done and the
hurt they heap on others, as a result of their relationships.
As it devolves, one can only hope they each get what they so richly deserve. The pay-off in that regard is massively disappointing. These are selfish people and the film can be commended for staying true to its protagonists/antagonists’ nature.
These are not people who would feel contrition. They simply exist to fulfill their own wants and desires, sadly making other people, the victims. As an expose on narcissism, the movie offers an expert glimpse. If only it felt its characters were actually guilty of the label.
As it devolves, one can only hope they each get what they so richly deserve. The pay-off in that regard is massively disappointing. These are selfish people and the film can be commended for staying true to its protagonists/antagonists’ nature.
These are not people who would feel contrition. They simply exist to fulfill their own wants and desires, sadly making other people, the victims. As an expose on narcissism, the movie offers an expert glimpse. If only it felt its characters were actually guilty of the label.
Fontaine’s directing style allows for the audience to feel
like a fly on the wall, as the aberrant behavior never ceases with any
censorship. After the first half, one would think it could not get worse and
then the second half takes place.
As incensing as the egocentricity in the film is, Fontaine never lets another character give voice to a varying viewpoint and in that regard, she pushes the narrative from that of window voyeurism into unabashed approval. Christophe Beaucarne’s cinematography is one of the film’s; only redeeming factors as he captures the melodrama with a steady hand and magnificently showcases the beautiful vistas of its exotic locale.
As incensing as the egocentricity in the film is, Fontaine never lets another character give voice to a varying viewpoint and in that regard, she pushes the narrative from that of window voyeurism into unabashed approval. Christophe Beaucarne’s cinematography is one of the film’s; only redeeming factors as he captures the melodrama with a steady hand and magnificently showcases the beautiful vistas of its exotic locale.
As for the performances, Naomi Watts steps up to the plate
with a brave offering; allowing a moment of sheer vulnerability to glisten in
the spotlight as Lil looks at herself in the mirror, studying her aged
complexion. It’s not a scene or angle, a lot of actresses would give access to
and in doing so, she reminds one, why Hollywood fell under her spell, all of those
years ago. No matter the role, Watts keeps it elegantly real and authentic.
The
performances by her co-stars Robin Wright, Xavier Samuel and James Frecheville
are all respectable. A main hindrance of “Adore” lies with the complete lack of
sexual chemistry between its leads.
It’s an additive that would have aided the film, somewhat. Without it, grasping why these paramours are so invested in one another is impossible to comprehend or buy into.
It’s an additive that would have aided the film, somewhat. Without it, grasping why these paramours are so invested in one another is impossible to comprehend or buy into.
Taboos are a fascinating subject matter, if all of the
angles are explored honestly. “Adore” exists in a bubble, its characters as
dependent on one another as an addict is to heroin. The unhealthy
manifestations are blatant and yet the film ignores it, failing to capture enough
ground to be compelling or memorably controversial. It’s a story that sidesteps
conflict by failing to acknowledge that there is any, no matter how obvious. Rating: 3/10
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