May December, a highly acclaimed psychodrama about sexual abuse directed by Todd Haynes, could appear strange to casual viewers. Despite the fact that it may not sound attractive, there are many of reasons to see it, including its amazing 35mm cinematography, eerie soundtrack, and clever symbolism. Critics have hailed it as the most frightening movie of the year.
Both Natalie Portman and Julianne Moore have outstanding performances. Even Charles Melton steals the show with an unexpected twist. In spite of the praise, I thought the movie was a little disappointing, especially the ending, which lacked resonance. It was sad that there was not more character development or a satisfying payoff, even though some ambiguity is thematically appropriate.
The film's conclusion reveals that Portman's character researched a poorly executed film about grooming, which some viewers found chilling. Compared to 2022's Tár film, I found May December less impactful, as the ending’s “joke” felt predictable.
Despite its flaws, I appreciate its key moments and performances, especially Portman’s, as Oscar season approaches. The film, along with Tár, addresses complex themes about gender and victimhood, challenging simplistic views on these issues. Revisiting it is uncertain, but I may gain a deeper appreciation for its subtleties.
