DIRECTED BY: Francesca Gregorini
FEATURING: Kaya Scodelario, Jessica Biel
PLOT: A troubled teenage girl becomes obsessed with the single mom who moves in next door.
WHY IT WON’T MAKE THE LIST: This metaphorical psychodrama is dreamy, but not quite dreamy enough to qualify as “weird.”
COMMENTS: Although it flirts with head games, The Truth About Emanuel is steadfastly a drama and not a psychological thriller; it does contains a twist, however, that makes it hard to discuss the plot without giving away an intended surprise. Suffice it to say that the twist arrives early, isn’t too terribly difficult to guess, and is milked almost entirely for its surface metaphor rather than as a source of suspense. Emanuel (Scodelario) is a smart but sullen teen girl, a female Holden Caulfield with a morbid streak. She has her name (spelled in the masculine form) tattooed on her arm, and nothing but sarcastic comments for her desperate-to-connect stepmother and a nerdy coworker. Emanuel feels existential survivor’s guilt due to the fact that her mother died giving birth to her. Enter new neighbor Linda (Biel), a young mother in constant need of babysitting services, with whom Emanuel immediately connects (inspiring vicarious maternal jealousy and lesbian panic in her stepmom). The two women’s relationship quickly takes a turn for the symbiotically, and symbolically, unhealthy. Despite the fact that the film’s big bombshell is dropped at the end of the first act, the movie as a whole feels very slow-developing. It can also be heavy-handed, moving its characters around stiffly so that they hit their psychological marks on cue. On the plus side, the acting and general technical quality of the film is good. Kaya Scodelario has a fine presence (the camera loves her big, haunted blue eyes), and although her role as a morose teen doesn’t require her to stretch her talents too much, I expect to see more of her in coming years. Biel is natural as always, putting in another of her effortlessly classy performances that make me wonder if maybe she shouldn’t be a bigger star than she is. The two women share good chemistry in this very gynocentric film. Even aside from the thematic obsession with motherhood and the mother/daughter relationship, Emanuel is very much the aggressor and dominant partner in her budding romance with her Elijah-Wood-as-Frodo-looking boyfriend; this movie, in fact, would fail the reverse Bechdel test. Despite some slightly distracting budget CGI, a lovingly constructed dream sequence works as an emotional and symbolic centerpiece. Along with one glancing shot that introduces some subjective ambiguity into the entire scenario, that dream gives the film just a touch of weirdness, although there’s not much here that will stretch the aesthetic boundaries of anyone who’s seen an independent film or two in their times. The Truth About Emanuel isn’t subtle in its symbolism, but it is an earnest and a generally effective exploration of maternal longing, brainier and more poetic than the average chick flick.
The Truth About Emanuel played Sundance in 2013 under the more intriguing title Emanuel and the Truth About Fishes. The revised, generic title may sound less weird, but it is arguably more misleading than the Truth About Fishes. It’s being released on video-on-demand contemporaneously with its limited theatrical release, which has now become the official distribution strategy for independent films.
WHAT THE CRITICS SAY:
“…has elements that are weirdly creepy, yet it still manages to be surprising and achingly sad.”–Nina Garin, San Diego Union-Tribune (contemporaneous)
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