Luca Guadagnino’s latest film aims to provoke thought, and it certainly stirs the pot. The opening credits, which reference Woody Allen’s personal troubles, spark debate. Is it clever commentary or just in poor taste? Regardless, it misses the mark. Allen, for all his controversies, engages deeply with the themes in his films, while Guadagnino seems lost in his own narrative.
Watching this movie elicits not the intended discomfort but rather a wave of embarrassment for both the characters and the actors. Take Alma, a philosophy professor played by Julia Roberts, who struggles to articulate fundamental ideas while hosting a pretentious party for her students. You can’t help but cringe as a group of supposed intellectuals engages in shallow conversations that would feel more at home in a freshman seminar. The dialogue can be so over-the-top that it feels like satire, yet the movie fails to deliver a coherent story.
Roberts shines in her role, portraying Alma as an insecure academic who projects confidence, aided by her wealthy husband, Frederik (Michael Stuhlbarg). The plot thickens when Maggie (Ayo Edebiri), a student balancing her identity as a Black, queer individual and a wealthy donor’s daughter, finds herself facing serious challenges. Her privilege complicates her struggles, from a plagiarism accusation to a harrowing personal assault. When she confides in Alma about her rape, she receives little sympathy, exposing a toxic environment that prioritizes silence over support.
Andrew Garfield plays Hank, a professor whose laid-back, brash demeanor raises questions about his conduct. His friendship with Alma adds another layer to the narrative and highlights the complex dynamics at play. Maggie’s predicament escalates, leaving her feeling isolated and unsupported. Her partner, Alex (Lio Mehiel), tries to be there for her, but their relationship shows signs of strain as she navigates these turbulent waters.
Adding complexity to Maggie’s journey is a secret from Alma’s past that she uncovers in a rather clumsy manner. While the film tries to delve into deeper issues surrounding trauma and the struggles of academia, it occasionally gets lost in its own muddled mechanics.
The narrative grapples with themes of privilege and accountability, but its handling feels superficial. Alma continuously belittles Maggie, which seems driven more by jealousy than genuine concern. Hank’s dismissive remarks about millennials reveal his resentment over lost privilege. Through these characters, the film critiques a societal structure that often protects those in power while dismissing the struggles of younger generations.
Statistics show that sexual assault in educational institutions remains a pressing issue, with about 1 in 5 women experiencing assault during college years. This troubling reality only intensifies the severity of Maggie’s situation in the film. Unfortunately, the characters’ wealth shields them from the consequences that others face, diluting the story’s intended gravity.
The film’s soundtrack, composed by Trent Reznor and Atticus Ross, seeks to add tension but ultimately feels like a missed opportunity. The suspenseful score can’t compensate for the hollow narrative.
Who is this film really for? It seems to address a mythical audience that believes women are infallible and men are always to blame. In truth, the complexity of these issues demands a more nuanced discussion. Instead, Guadagnino’s effort appears to float aimlessly, missing rich chances for exploration and instead delivering a narrative that may leave viewers disinterested.
In conclusion, Guadagnino’s film grapples with heavy themes but fails to deliver a meaningful experience. Its lack of depth and failure to engage with real-world complexities leaves it feeling like a pale reflection of the issues it aims to tackle.
Source link
