Synopsis
Rural England, 1865. Katherine, suffocated by her loveless marriage to a bitter man and restrained by his father's tyranny, unleashes an irresistible force within her, so powerful that she will stop at nothing to get what she wants.
2016 Directed by William Oldroyd
Rural England, 1865. Katherine, suffocated by her loveless marriage to a bitter man and restrained by his father's tyranny, unleashes an irresistible force within her, so powerful that she will stop at nothing to get what she wants.
Florence Pugh Cosmo Jarvis Paul Hilton Naomi Ackie Christopher Fairbank Golda Rosheuvel Anton Palmer Rebecca Manley Fleur Houdijk Cliff Burnett David Kirkbride Bill Fellows Nicholas Lumley Raymond Finn Ian Conningham Finn Burridge Jack Robertson Kema Sikazwe Elliot Sinclair Andrew Davis Alan Billingham Bailey Palmer
Christopher Granier-Deferre Jim Reeve Lizzie Francke Christopher Moll Fodhla Cronin O'Reilly Steve Jenkins
Lady M, Lēdija Makbeta, 레이디 맥베스
Epic history and literature Intense violence and sexual transgression Moving relationship stories historical, royalty, sumptuous, lavish or drama shakespearean, kings, battle, breathtaking or epic marriage, emotion, romance, feelings or relationships sex, sexual, relationships, erotic or sensual marriage, drama, family, emotional or emotion Show All…
My mom: I wonder why they don't want her going outside at all?
*cuts to the 4th sex scene in ten minutes*
Mom: Maybe that's why.
the milk of human kindness has most definitely gone sour.
can't remember the last time i saw anything that offered such a nuanced, slippery portrait of moral decline [insert joke about the GOP here].
highly recommended for fans of ladies, macbeth, the handmaiden, and / or murder on the moors.
I'm making a list called "performances that are better than most of the 2018 Oscar nominations" and Florence Pugh is already on it.
the lengths that white women will go to just so they can fuck a 19th century version of seth rogen
first half i was like “being horny & drinking all the wine while being ordered to stay inside? this is hitting a little too close to home” and then second half i was like “jk maybe not”
if you were still rooting for katherine during the last 15 minutes you’re legally obliged to tell me so i can file for a restraining order
42/100
Even skeptics tend to praise Florence Pugh's performance in the title role, but I submit that her talent obscures some fundamentally poor choices (for which director William Oldroyd shares the blame, of course). An appalling metamorphosis is what's called for, but Pugh works overtime to signal what's coming, right from the outset; she seems disturbed even before the patriarchal nightmare has a chance to warp her. (I suppose one could argue that significant warping occurred throughout the character's childhood, but that's not exactly dramatically satisfying.) Consequently, there's no sense of tragedy or loss here—just a monster whose increasingly horrific crimes are shallowly contextualized by her own mistreatment. Doesn't help that the grand passion that ostensibly motivates Katherine plays like…