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A step up from The Voyeurs. That film required sexual tension that Mohan could not generate. He fairs a bit better w/ suspense. Mohan appreciates silences, patience, darkness. But it's no filmmaking showcase. It's the kind of film where a director essentially stands back and lets their star work. Unfortunately, The Voyeurs and this share one crucial problem: Sweeney can barely hold a frame. When she's not in hysterics (her common mode on Euphoria), she's indistinct. She's learned the lines but hasn't put any thought or lived experience behind them. A great star can power predictable material with their own force of personality. You want to see how THIS person reacts to a situation we've seen hundreds of times before. But with Sweeney there's just nothing there. Rest of the cast is mostly a non entity.
Props for the very timely subject matter though. When exactly the film is taking place is immaterial. Institutions couched in fanatical dogma seek to control women's bodies? Evergreen tale, that. Great final scene.
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