Bartlett looked for inspiration in a number of films about the relationship between an older man and a young girl, and perhaps drew on her own experience of growing up, which is known to be never easy. Its eighteen-year-old heroine Caira finds it all the more difficult because she lives de facto alone in a sprawling family mansion in a hole so sunk in that her new professor says about her that perhaps only ghosts live there.
Her parents, rich lawyers, spend most of their time abroad, and she, who walks to school alone through the forest every day, just aches to be interesting, to be successful.
For now, she only loves literature and is firmly convinced of her own talent for writing. In his senior year of high school, professor and writer Jonathan Miller discovers him and is completely captivated by him. Their relationship deepens and gradually begins to exceed the boundaries that are clearly set for the teacher and the student.
The popular platform Netflix is rolling again. Wednesday is a hell of a Wednesday
Bartlett quite well managed to capture the feelings of girls who are still searching for their sexuality, but already very much desire it.
The supporting character of Cairina’s provocative and provocative friend Winnie and their relationship is among the best that the film has to offer.
The character of Miller’s colleague and friend, the cheerful physicist Boris Fillmore, who is close to the students, but at the same time maintains the necessary distance and perspective, is also quite funny.
The author fared much worse when depicting the growing passion between the main characters. The fact that Caira lives in a rich but empty environment, mostly abandoned without a single person close to her, feels like a construction to justify many of her subsequent feelings in advance.
The long passages in which she and Jonathan quote each other from literature are hopelessly boring and take up quite a lot of space, especially in the first part of the film.
Jonathan’s marriage is no less contrived, which at first seems almost ideal, only to reveal at some point an almost murderous hatred supported by the alcoholism of one spouse and the mediocrity to the point of incompetence of the other spouse.
Overall, revealing the true nature of the adult characters only serves as a crutch to fill out the plot and feels quite implausible. And the revenge, which must naturally take place, has already been played out many times and is predictable both in the course and outcome.
The main attraction of the film is undoubtedly the casting of Jenny Ortega in the role of Caira. After all, the actress is quite reminiscent of Wednesday with her expression and performance, which may or may not have been the intention. The problem is rather that the necessary chemistry between her and Martin Freeman, who plays Jonathan, did not arise, so even the long close-ups of their rapprochement are not of much value and do not pull the film into the position of a tense drama.
|USA 2024, 93 min. Directed by: Jade Halley Bartlett, starring: Jenna Ortega, Martin Freeman, Gideon Adlon, Bashir Salahuddin and more