May December (2023)

May December marks the ninth feature film from acclaimed director Todd Haynes, who began his career within the New Queer Cinema movement of the 1990s.

While his career has not followed a conventional path, he has consistently produced remarkable work over the years.

Personally, I always eagerly anticipate a new Haynes release. While the film is not perfect, I must express my satisfaction with Haynes' vision.

Commenting on all the elements that contribute to May December's greatness without revealing spoilers is a challenge. However, it is not surprising that Todd Haynes was drawn to a subject like this at first glance.

Based on a truly horrific true story, May December invites viewers to examine a marriage based on abuse through the lens of an actress's outside perspective.

Haynes has consistently shown a fascination with exploring the psychology of characters (often women) who are marginalised by society and shaped by their traumatic experiences.

In his cinematic world, sexual desire frequently emerges as a powerful, uncontrollable and often destructive force.

It is therefore quite understandable that Haynes, seeking impartiality (as indicated by Elizabeth's role as an outside observer), shows a keen interest in analysing and understanding the dynamic between Gracie and Joe.

It is curious that, ultimately, his conclusion coincides perfectly with his initial perception: from the outset, this is a toxic and damaging relationship.

Yet, despite my realisation, it doesn't feel like I'm watching a film with an overt ‘message’. It is not a lecture. The concepts presented and the way they are introduced encourage contemplation.

From the very first scene, May December offers a presentation that is both shocking and disorienting. Since its debut at Cannes, it has been described by critics and audiences alike as ‘camp’.

This may be attributed to the somewhat blurred cinematography, which imparts an artificial and superficial essence to the narrative, perfectly suited to the masquerade and deception Haynes deploys.

Alternatively, it could be due to the infamous and mechanical application of the zoom, which looks supernatural and is crucial in diverting the camera's attention.

In my opinion, May December is a work of great merit, although its tonal interplay and leaping movements are not easy to pin down and do not always blend seamlessly.

It will not be to everyone's taste, and many viewers looking for a clearer and more powerful message will probably not be convinced by the distant approach and lack of answers, but I liked the end result very much.

May December is sad and disturbing, with a very unique way of analysing power relations, the consequences of abuse, sensationalist romanticisation and the pathological consumption of tragedy.

It's not perfect, but it's certainly brave and ambitious, with a strong visual device, thematic depth and acting to match.