Promising Young Woman (2020)

A young woman, traumatized by a tragic event in her past, seeks out vengeance against those who crossed her path.

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Quality: Very Good   Size: Small
Director :
Emerald Fennell

Writer :

Emerald Fennell

Actors :
Adam Brody| Ray Nicholson| Sam Richardson| Carey Mulligan|

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Best Review:

“Promising Young Woman” looks like a daring and successful debut that defies categorization. What is it: a dark comedy with overtones of a thriller? Though no, the narrative here is serious enough. An exploitation movie shot in a deliberately lighthearted manner? Not much. Anyway, the approach to “The Girl…” seems disjointed, a kind of revenge project after a rape, but without the sexual context: “I Spit on Your Graves,” “Last House on the Left” and the like, only in a lighter and no less sophisticated form. As a result, the movie is surprisingly vague and indistinct, more about women’s solidarity than about the terrible subject of rape.


Cass is a woman “in her thirties,” living with her parents, with no romantic relationships and stuck in a dead-end job. She goes to bars at night, pretends to get drunk, lets guys hit on her, and then lectures potential rapists afterward. Cass has a purpose and it has to do with the events of the past that ruined her life.


Cassie’s character is essentially a reimagining of Veronica Mars, the main character in the popular teen series. The parallels are there: both heroines have given up meaningful social connections, stopped thinking about the future, are seething with rage over injustice, and do not ask for emotional support. At the same time, Cassie is more of an empathic heroine, which makes you want to write her off. If one takes the psychological trauma into account, the line between hero and villain is blurred and raises the question of justice for female rape survivors. In fact, movies like “Survivor” showed the right style, and the first season of “Jessica Jones” showed a mature figure – a victim of the patriarchal system. Against their backdrop, “Girlfriend…” looks outdated: “Infatuation,” the sequels to “Poison Ivy,” and “Lollipop” turned victims of violence into devious manipulators. Even compared to “Teeth,” “Girlfriend…” feels retrograde, relying on images of some violent hipsters.


Thus, in detail, “The Girl…” came out incredibly fuzzy. For example, Cassie writes men down in a notebook. There is speculation that the heroine may be a serial killer, but the script does not reveal this. Perhaps because the creators wanted to bet on both romantic comedy and black comedy: in general, “The Girl” contains too many elements that are mixed up. The dramatic component rather loses out to the thriller. Visually, the movie is also full of contracts: the aesthetic is reminiscent of Nicholas Wending Refn. Scenes are painted in caramel colors during the day, while at night we are transported to a scruffy, neon-drenched world.


The purpose of “The Girl” was probably to scare men, but those real-life scumbags would hardly watch a movie like this; the same “I Spit on Your Graves” is more entertaining and more understandable, though at times it is a senseless bloodbath. The cinematic challenge of “The Girl,” on the other hand, was apparently to reimagine a Hitchcockian thriller (or the format of “Death Wish”), but it stultifies even that: the project is not so phenomenal, and at times silly and wicked. “Девушка, подающая надежды” accuses institutions of protecting rapists, but it also clearly simplifies such concepts as justice and retribution–in the end, it’s not a movie about defeating the system, but an overly pessimistic account of a martyr. Mi tu and you tu?

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119, за 0.104 в 24 Feb 2021 - 22:46