its harrowing psychoanalysis is enough to leave you bewildered in its mayhem..
Martha Marcy May Marlene is a character driven drama about a girl who contacts her sister after disappearing for two years, as she finds herself at the bottom of the pit. It is utterly pleasing and soothing to encounter such a calm and layered tale told with such panache that it doesn’t seem fictitious at all.
The metaphorical satire soars through entire feature with maker sitting back and enjoying on eschewing its mythological characters. The uncertainty keeps the crisp alive on the air among the characters where it doesn’t need any appalling creatures, to give you goosebumps; its harrowing psychoanalysis is enough to leave you bewildered in its mayhem.
The background score may as well be non-existent, but has mesmerizing cinematography, stunning camera work and fine editing in its pros section. Olsen’s performance is plausible where she takes you to newer territories if not always with conviction, but it still is palpable to its eerie bubble. Paulson is a strong supporter but Hawkes with his stand out moments, steals the limelight.
The narrative is strong, gripping, layered and adaptive that emits non-pretentious policies comparing the pros and cons of current social life. Swooping up all the angles and perspective of the characters; depicted through parallel screenwriting, it offers a much smarter and mature concept to the audience which is explored to the core.
The transparency of the structure as it weaves the sequence in front of the audience, the potential to speak volume without uttering a word on screen and the metaphorical cinematography that acts like a mirror to the characters are the high points of the feature.
Despite of split into two different territories, Martha Marcy May Marlene glides through the roof with its ideology that communicates clearly since there are no other notorious business; Durkin is here to tell a story.