May December, Todd Haynes’ latest offering, is a postmodernist horror tale that takes a highly intimate yet emotionally detached view of performance as predation, exploring complex themes of identity and duality, social norms and taboo. It tells the story of Gracie Atherton-Yoo, who, in her mid-30s, was caught having sex with her 13-year-old Korean American co-worker in a pet store stockroom, resulting in her being labelled a registered sex offender. The director uses music as a means of subversively punctuating scenes, often flirting with soap and melodrama, to show how stories like Gracie’s are interpreted and received by the public.
The film begins with Natalie Portman playing Elizabeth Berry, preparing to play the role of Gracie in a movie. She travels to Savannah to study Gracie and Joe’s life and bring truth to her performance, with compensation assumed as her motive. Gracie is reluctant to open up about the past and fails to explain why access is being granted, creating a small hole in the screenplay that could have been filled. However, this lack of clarity and the fact that Gracie has evidently been burned many times before does serve as a reminder of the media’s sensational and exploitative nature.
Playing opposite Portman is Julianne Moore as Gracie, with both actresses delivering captivating performances throughout the film. They transfix the audience with their constantly evolving characters, revealing different sides of themselves and exploring the depths of their characters’ duality. The film is reminiscent of Ingmar Bergman’s Persona, and Haynes has injected a sense of emotional detachment that will appeal more to his devoted admirers rather than attracting mainstream audiences.
With Gracie and Joe’s marriage under threat, the story explores themes of vulnerability and ambition, revealing how Elizabeth, with her polished interpersonal skills and ravenous ambition, preys on Joe’s vulnerability to further her own goals. This culminates in a shocking scene of Single White Female-esque creepiness that leaves a permanent mark on the audience.
One of the most illuminating scenes in the film takes place in a clothing store where Gracie expresses her disinterest in delving into the past, while Elizabeth finds it useful to reflect on earlier choices and mistakes. This fundamental difference between the two actresses propels the narrative forward and highlights the human tendency to justify and rationalize our actions.
Unfortunately, the film remains somewhat restrained and glacial for its raw subject matter, with Portman’s one memorable monologue delivered into a mirror being the exception. Haynes explores the themes of self-knowledge and public perception expertly, but the emotional volatility of the subject is somewhat muted. However, the lead actresses ensure that the film never loses its grasp on captivating the audience.
The film’s cinematography, although beautifully shot by Christopher Blauvelt in place of Haynes’ usual cinematographer due to injury, fails to reach the intensity that the subject matter demands. The use of lush vegetation and monarch butterflies suggest a hothouse atmosphere that is never fully realized on screen, leaving one yearning for more.
Despite its few shortcomings, May December is still an important film that explores taboos and social norms. It is a cautionary tale about the dangers of never addressing our past mistakes and the slippery slope that leads to the critical public eye. While it may not appeal to mainstream audiences, fans of postmodernist horror and Todd Haynes’ devoted followers will appreciate the film’s artistry and the riveting performances.
