Saturday, September 30, 2017


A dreamy opening shot of a raw mangrove tangled river gives way to a closeup of Beatriz' (Salma Hayek's) sleeping face. She is woken by the goat who bleats from a pen a metre from her bed. Los Angeles, the present. She rises and goes to her job at a Cancer clinic, treating patients with massage but also a series of new age pursuits which look enough like occupational therapy to seem palliative at best. At lunch she looks over the room to a young man well advanced in chemo therapy, hairless and glacially imploding and understands that she can do nothing for him.

Her next appointment is a house call to a woman in the rich part of town. As she massages the Angelene matron Kathy (Connie Britton) we learn that her treatmentment and care of the daughter of the house has made her a household saint so that when her car won't start Kathy without a second thought invites her to the dinner party on at the house that evening. At first this works as she meets the first couple to arrive and slides through the initial awkwardness (Beatriz is very tactile and they aren't quite prepared) to pass agreeably. The next level is the monster capitalist Doug Strutt and spouse. Beatriz has the strangest feeling that she already knows him. Whether this is from a previous personal experience or something more psychic.

From this point what might legitimately progress to a kind of Abigail's Party with 1-percenters vs Mexicans or capitalists vs new agers takes a turn for the subtler. The OC Angelinos are comfortable with each other and seldom edge toward caricature, more typically betraying themselves unselfconsciously. This leaves a significant amount of screen time filled with Hayek's intense observation. Her face occupies the entire screen for long minutes on end as the heady blend of cynicism and privilege babbles around her. Things break not once but several times and what emerges is a lot darker than any lighter treatment would have allowed. If you sit down to this one expecting a sassy comedy in which a big daddy business mogul gets his come uppance you will be disappointed. As the stakes of the themes the characters introduce expand we get to some dark places.

The ensemble cast is superb with the mounting discomfort sustained throughout without having to break into cheaper comedy. If there is a sense of archetypes pushing the bounds of their characters it might well be a symptom of having to observe the highly digestible running time (short of ninety minutes) but given the quality of performances and some artful dialogue and a few unexpected but fitting eleventh hour surprises I can go along with it. Imagine an understated Get Out, perhaps.

A strange film but one worth your attention, especially if you want a cleanser between more generic fare. Generic this ain't and it and you will be the better for it. Oh, and the mangroves and goat come back into it.

No comments:

Post a Comment