The director of Madeline’s Madeline, one of my favourite films of a couple years ago, is back with another film, this time about the horror author Shirley Jackson, with a bravura performance from Elisabeth Moss. Hopefully this means it gets a bit more widespread acclaim, because I think it deserves it, not that it’s always easy to watch, given the mind games going on amongst the protagonists.
Director Josephine Decker has made some of my favourite films of recent years, developing a distinctive, corporeal and impressionistic aesthetic. It feels a little different here, presumably because she’s working with a different cinematographer from her earlier works, and so this feels a little more classical than her erstwhile experiments in trying to get directly inside someone’s head. It’s still stylish in evoking a mid-20th century New England setting, and comes across at times a little like Professor Marston and the Wonder Women, and while that film had its psychosexual overtones, Shirley really pushes hard into some dark territory in essaying the relationship between the titular writer and a young woman whom she at first fears her flirtatious and philandering academic husband has his sights set on. Things develop into a four-way entanglement between these two couples, all of which is brought out ultimately by the committed performances of the ever-mercurial Elisabeth Moss as Shirley and Australian actor Odessa Young as her protegee of sorts (plus of course Michael Stuhlbarg, who really makes the most of his beard and his paunch to create a memorable professor).
Director Josephine Decker; Writer Sarah Gubbins (based on the novel by Susan Scarf Merrell); Cinematographer Sturla Brandth Grøvlen; Starring Elisabeth Moss, Michael Stuhlbarg, Odessa Young, Logan Lerman; Length 107 minutes.
Seen at home (BFI Player streaming), London, Friday 9 October 2020.