Christine ★★★

Astute period detail and undoubtedly committed performances in the service of something that I can’t quite place. Is Campos’ message here that Christine just needed an outlet, as the last scene implies, or is he suggesting that there’s some deeper dysfunction at play here as those scenes showing her scribbling in her notebooks seem to argue? It’s impossible to be sure, but Hall’s efforts seem to be somewhat in vain. She awkwardly stumbles through scenes, presenting a portrait of a woman who may simply be out of her time and place, but may be more deeply unhinged. Campos’ focus on external behavior and her interactions with men seems to paint her as a spinster, or sorts, which is a surprisingly retrograde outlook. Probably exploitative in the final tally, but aloof and unfocused enough to seed doubt…


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