Synopsis
A famous horror writer finds inspiration for her next book after she and her husband take in a young couple.
2020 Directed by Josephine Decker
A famous horror writer finds inspiration for her next book after she and her husband take in a young couple.
Martin Scorsese Christine Vachon Alisa Tager Elisabeth Moss Simon Horsman David Hinojosa Allison Rose Carter Jon Read Jeffrey Soros Sarah Gubbins Cherilyn Hawrysh Sue Naegle Olivia West Lloyd
Horror, the undead and monster classics Intense violence and sexual transgression Humanity and the world around us horror, creepy, eerie, blood or gothic scary, horror, creepy, supernatural or frighten sex, sexual, relationships, erotic or sensual artists, biography, musician, songs or emotional emotional, emotion, sad, drama or illness Show All…
out of all eight 2020 releases i’ve seen (lol), Shirley is by far my favorite. josephine decker has acheived auteur status — just like in Madeline’s Madeline, the camera swirls around her characters, the framing focusing on fragments of their faces, proffering a dreamy drift through the woods of vermont. it blurs the line between muse and friend and lover, and highlights the tendency of artists to take advantage of the people who inspire them most. should a muse be honored? disgusted? resentful?
there are so many stories about eccentric older male geniuses and their pretty young muses, but this is one of the only ones i’ve seen where said genius is a woman. shirley is messy and spiteful and capricious…
good movie for a person like me, whose chief complaint about Midsommar was "there's not enough stuff about grad school"
“you could run, run fast away from me but you don’t. why don’t you? why do you stay?”
sometimes the strange bonds we find ourselves ensnared in can free us, change us. this might be less about the bond itself and more about the abstract changing, but it’s fascinating either way. the porch swing scene might be the best of the year so far. i know what i’m about
unlike anything josephine decker has made before and yet her fingerprints are everywhere. what a fascinating, thrilling, hypnotic mind trip. the kind of film that gives you goosebumps.
When the news first broke that “Madeline’s Madeline” filmmaker Josephine Decker would be making a starry movie about the author Shirley Jackson, it was hard not to be disappointed (or at least caught by surprise) that one of the most feral, elastic, and vividly singular artists of contemporary American cinema was following her first masterpiece with something that might be classified as a biopic. Shudder. Speaking as one of Decker’s still-fervent devotees, the hope was that her next project would find her reaching deeper into her own mind instead of squeezing her immense talents into the architecture of someone else’s imagination, and the fear was that the financial demands of a period piece would constrain her uniquely generative creative process.…
i feel the exact same way about shirley that i felt about madeline's madeline: uncomfortable, somewhat disgusted, a little in love, and ready to never watch it again.